Physical Performance in the Performing Arts: An Experimental Study of the Effect of Specific Physical Training on the Motor Balance and Performance Stability of the Actor in Contemporary Libyan Theater

Abstract

The present study aimed to empirically investigate the effectiveness of a proposed specific athletic conditioning program on enhancing motor balance (both static and dynamic) and improving the overall physical performance stability of actors in contemporary Libyan theatre. A quasi-experimental design utilizing pre-test/post-test evaluations across two equivalent groups (experimental and control) was employed. A purposive sample of 30 actors registered in national theatrical troupes and advanced acting students at the High Institute of Art Techniques in Tripoli was recruited during the 2025/2026 theatrical season. The participants were randomly allocated into two equal cohorts: an experimental group (n = 15) undergoing a 12-week specific neuromuscular and core stability conditioning protocol (3 sessions/week, 60 minutes each), and a control group (n = 15) following conventional classical stage warm-up routines. Diagnostic instruments included the Y-Balance Test (YBT), the Berg Balance Scale (BBS), high-speed 2D kinematic analysis (Kinovea v0.9.5) to monitor Center of Gravity (COG) angular deviations and kinetic fluidity during sudden dramatic transitions, and a standardized peer-reviewed rubric for scenic expressive stability. Statistical analyses conducted via SPSS v.26 demonstrated statistically significant differences at (p <= 0.01) between pre- and post-measurements for the experimental group across all static and dynamic balance parameters in favor of the post-intervention, with extraordinarily large effect sizes (Cohen's d ranging between 1.82 and 2.94). Furthermore, Analysis of Covariance (ANCOVA) confirmed that the experimental group significantly outperformed the control group in the post-test, exhibiting an overall 28.6% improvement in dynamic reach stability and a 34.2% reduction in parasitic muscular sway during dramatic freeze states. The study concludes that integrating specialized core stabilization and neuromuscular facilitation routines liberates the contemporary Libyan actor from mechanical bodily constraints, fostering organic physical resonance on stage without premature fatigue. The study strongly recommends integrating advanced specific physical conditioning as a mandatory core curriculum across higher dramatic arts institutes and Libyan repertory theaters.