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Full Description
This book gives new insight into acting and theatre-making through phenomenology (the study of how the world shows itself to conscious experience). It examines Being-in-the-world in everyday life with exercises for workshops and rehearsal. Each chapter explores themes to guide the creative process through objects, bodies, spaces, being with others, time, history, freedom and authenticity. Key examples in the work are drawn from Chekhov's The Cherry Orchard, Sophocles' Antigone and Shakespeare's Hamlet. Practical tasks in each section explore how the theatrical event can offer unique insight into Being and existence. In this way, the book makes a bold leap to understand acting as an embodied form of philosophy and to explain how phenomenology can be a rich source of inspiration for actors, directors, designers and the creative process of theatre-making.
This original new book will provide new insight into the practice and theory of acting, stimulate new approaches to rehearsal and advance the notion of theatre making a genuine contribution to philosophical discourse.
The fundamental task of the actor is to be on stage with purposeful action in the given circumstances. But this simple act of 'Being' is not easy. Phenomenology can provide valuable insight into the challenge. For some time, scholars have looked to phenomenology to describe and analyse the theatrical event. But more than simply drawing attention to embodiment and the subjective experience of the world, a philosophical perspective can also shed light on broader existential issues of being.
No specialist knowledge of philosophy is required for the reader to find this text engaging and it will be relevant for second-year students and above at tertiary level.
For postgraduates and researchers, the book will provide a valuable touchstone for phenomenology and performance as research. The book will appeal to theatre and performance studies, and some applied philosophy courses. The material is also relevant to studies in literary and critical theory, cultural studies and comparative literature.
The work is relevant to The International Federation of Theatre Research (IFTR/FIRT) (Performance and Consciousness), Performance Studies International (psi) and the Performance Philosophy Research Network — an influential and growing research field.
Primary markets for this book will be students (both at university and conservatoires) and academics in theatre studies, as well as practitioners and actors in training. The text will be useful to students in units or modules relating to acting theory and theatre-making processes, and which combine critical theory with practical performance. It will also be useful for practitioners of theatre looking to expand or inflect their own methods of approaching performance.
Contents
List of Illustrations
Acknowledgements
A Note on the Text
1. Beginnings: Being There
Touching Hands with Being
What Is Phenomenology?
Performance and Phenomenology
Philosophers on Stage
Mapping the Self
2. Phenomenology: Being-in-the-World
Some Background Terms
Space and Bodies
The History of Being
Destruktion and the Text
From Theory to Practice
Observe a Walk
Observe Stillness
Scrutinize an Object
Chart a Place Well Known to You
Unpack a Place Where You Feel At Home
Dissect a Familiar Activity
Describe a Person
Recount a Time When You Struggled to Communicate
Demonstrate a Moment When You Had an Unusual Experience of Time
Stage a Life Choice
Recreate the Instant in Which Your Life Was Threatened
Text-Character-Performance
3. Being-with Others: The Cherry Orchard
Equipment
Involvement
Touch
Being Elsewhere
Other People
Authenticity and Freedom: Antigone
Falling
Nothingness
Moods and Faring
Thrownness and Projection
Fate and Destiny
5. Time and Resoluteness: Hamlet
Timeliness
Having a History
Being-a-Whole
Resoluteness
Being-towards-Death
6. Possibilities: Aletheia
On the Essence of Truth in Theatre
Poetry, Language, Theatre
Building, Dwelling, Theatre
The Question concerning Theatre Technology
Ereignis
References
Index
