Acting without "meaning' or "motivation"
a first-person account of acting in the pre-articulate world of immediate lived/living experience
Oscillating between being "within' and "without' a performative experience, Phillip Zarrilli's chapter details the ways in which performance, as necessarily embodied and perceived, makes manifest some of the better-known tenets of phenomenological thinking. In particular, he illuminates the way in which a performance event underscores the prevalence of the bodymind (as per Merleau-Ponty), and even more explicitly (through his key example of Beckett's Act Without Words I), a Heideggerian "thrownness'. The chapter further touches upon many of the key phenomenological tropes that are highlighted early and often in the book, especially a desire to be precise and rigorous in terms of articulating what phenomenology is and what it does, specifically with respect to the study of theatre and performance.
Zarrilli, P. B. (2019)., Acting without "meaning' or "motivation": a first-person account of acting in the pre-articulate world of immediate lived/living experience, in S. Grant, J. Mcneilly-Renaudie & M. Wagner (eds.), Performance phenomenology, Dordrecht, Springer, pp. 287-309.
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