This essay discusses the use of selected coaching approaches – specifically the person-centred philosophy of Carl Rogers, and clean language pioneered by David Grove, as synthesised by Relational Dynamics training given by Deb Barnard – as a key resource in performer training. The essay draws on performance research undertaken between 2012 and 2020 and on professional coaching practice with artists and performers from 2012 until the present. The author examines the possibilities and effects of coaching approaches as a means to facilitate conditions for audience-centred experiences in the context of contemporary performance practice. The careful use of ‘person-centred’, ‘clean language’ and ‘active listening’ on the part of performers, creates the conditions for audiences to feel personally addressed and to heighten emotional response, imbuing performance with audience-specific meaning. At the same time, the context of performance practice can lend coaching techniques a permission and focus to those who might otherwise eschew such forms of interlocution. Taking a coaching approach in works of performance that engage in participation also offers an ethical framework for artists and performers.

本文讨论了使用选定的教练方法——特别是卡尔·罗杰斯的以人为本的哲学，以及大卫·格罗夫开创的干净的语言，由 Deb Barnard 提供的关系动力学培训综合——作为绩效培训的关键资源。这篇文章借鉴了 2012 年至 2020 年间进行的绩效研究，以及 2012 年至今的艺术家和表演者的专业教练实践。作者研究了教练方法的可能性和效果，作为在当代表演实践的背景下促进以观众为中心的体验的条件的一种手段。表演者谨慎使用“以人为本”、“干净的语言”和“积极倾听”，为观众创造了条件，让他们感受到个性化，并增强情绪反应，赋予表演以观众特定的意义。与此同时，绩效实践的背景可以为那些可能会避开这种形式的对话的人提供许可和关注。在参与的表演作品中采用指导方法也为艺术家和表演者提供了道德框架。