Toward a Phenomenological Model of the Actor's Embodied Modes of Experience

Phillip B. Zarrilli

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Phenomenology and Existential Philosophy Theatre and Performance Studies Arts and Performance Studies

Abstract

How can the contemporary actor’s body and experience in performance be theorized? 2 What methodological tools are useful in an attempt to better understand the embodied work of the actor? This essay applies one among a set of complimentary methodological tools to this question—a post‐Merleau-Ponty phenomenology. 3 Like all accounts of embodiment and experience this one is necessarily limited by “our propositional modes of representation,” since it is extremely difficult “to express the full meaning of our experience.” 4 In spite of such limitations, this essay is intended to contribute to phenomenological studies of embodiment by extending their focus from

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References

1982Phenomenology of Perception 1987The Body in the Mind 1964Phenomenology of Perception.1968The visible and the invisible 1999Philosophy in the flesh 1990The absent body 2000Introduction to phenomenology 1983Role Playing and Identity: The Limits of Theatre as Metaphor.

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2019Silence and Attunement in Legal Performance 2016Analytic Productions in Post-Intentional Phenomenological Research 2015The art of creating a Kathakali performer’s ‘Presence’2010Method(ology), pedagogy and praxis: a phenomenology of the pre-performative training regime of Phillip Zarrilli 2020Breathing beyond Embodiment: Exploring Emergence, Grieving and Song in Laboratory Theatre

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