师徒制剧团中的身体规训与具身认同建构

… centres for theatre training, the Central School of Speech-Training and Dramatic … apprentice supposedly learns from the master, going on to qualify in his own right by making his master-…

… of the master-apprentice tradition in … training trajectory due to the comparatively late maturation of their vocal folds, typically occurring after their teenage years. The master-apprentice …

… offered accommodation, maintenance and technical training. Instruction in skills was … , when apprentices destroyed the new theatre in Drury Lane, responding to the action of the theatre …

… of the great century of the theatre. We were privileged, too, … Soldier we boys, in our training corps uniforms, lined the path … Royal Academy of Dramatic Art and master some more of the …

… discipline, and its visible effect on the body is something strangely divorced from the subjectivity of conventional western European/US theatre … that objectifies the body. Sometimes it is …

The goal of this article is to analyse socio-cultural schemes embodied in the physical bodies of theatre actors and their effect on the actors’ professional development. Age, gender and beauty standards are three key variables in theatre work and their impact is noticeable all over the performers’ career spans. The basis for this research is a qualitative sample of 31 in-depth interviews with professional Spanish theatre performers. I will start by defining the dimensions of the dramatic body to focus afterwards on its physicality, image and aesthetics, as malleable forms of capital. Despite their expertise in their trade, performers are highly conditioned by their body image due to a continuous exposure to the expectations of the audience and their own. I will explore the potentiality of the performers’ marked bodies through the characters they are able to portray and the socio-cultural schemes inscribed in their bodies.

… theatrical vocabulary is the human body, the main source of sound and movement. Therefore, to control the means of theatrical … Elyse Lamm Pineau notes how the disciplining functions …

… theatre producers on Broadway can be observed manufacturing simulations of live theatre. … Shadows’, that ‘a living body, in its time and space totality, is the ethic of theatre. The living …

… Parsi theatre shifted: from disciplining communal customs to disciplining the communal body… , the Parsis reconceived themselves in the theatre—from blind mimics of the English to an …

Both in his practical work with Odin Teatret, and his close involvement with ISTA, the International School of Theatre Anthropology. Eugenio Barba has developed an approach to theatre which is highly personal in expression, yet far-sightedly comparative in its concern with the nature of the actor's work and the ways in which it crosses cultural and other divides. An Advisory Editor of NTQ, Eugenio Barba contributed earlier pieces on the nature of the actor's energies to NTQ 4 and NTQ 11, and now further develops his thinking, in a consideration of what he calls ‘the body-in-life’, and the balance between its ‘three vital organs’ which is essential if the actor is to realize his full potential.

… discipline the body, force it to "emit signs" of clear masculinity and femininity. The notion of body discipline in the theatre … what I have been calling an orificial-body into an artificial sign or …

… body in Butoh and Body Weather, for example – are to be found across the landscape of late twentieth-century dance and theatre … the disciplining strictures of Butoh or Body Weather. …

… understanding of the performer's modes of embodiment. Hypothesis (1). The human body has become the primary subject of the contemporary (avant garde) performance genre. …

… Here, the audience could see the US performers stretching … identity, as I had to map my identity anew with each audience encounter or each unrehearsed conversation with a performer. …

… The performer claims an uneasy possession of performance … From the burlesque to the sublime, the performer conjures … for useful purposes, the performer must first remember where …

… Throughout, McMillan reveals how these performers manipulated the … , identity, identification, and freedom.This vibrant and energetic study of art, performance, and embodiment is far-…

… takes shape, and performers embody the artwork itself in the … is repeatedly corrected, to the embodiment of more and more … It may take the form of perfect identity and isorhythmics, or …

… and post-psychophysical performer training, we can now add embodiment as a third term … Kapsali, that ideology and identity are embodied in the performer, together with disciplinary …

… because autobiographical narrators are embodied subjects’ (p… , we piece together our embodied identities. We construct a … alternative identities, notions of self, and forms of embodiment …

… The key theoretical difference, as I will elaborate here, is the claim that language and discourse are themselves embodied: They are cognitively embodied, arising from the …

… phenomenology to explore the question of how the contemporary actor’s body and experience in performance … fourfold model of the actor’s embodied modes of experience is proposed. …

… In this approximation, we address two somatic practices of performance, which I also think of as practices of embodiment. Taken together, somatic practices of performance have distinct …

… of phenomenological method applied to performance with technologies that reveals knowledge structured as affects, percepts, kinepts, and concepts. What this embodied knowledge …

… As this volume makes clear, research on embodied cognition draws from a number of … In this chapter I focus on what phenomenology has contributed to our understanding of embodied …

While the use of phenomenological approaches in qualitative research increases in the field of performing arts, their legitimate application as research methods can prove to be challenging. The article introduces the dominant dichotomies and challenges in phenomenological research, such as concerns emerging from the researcher’s position, interdisciplinarity and mixed methods. The paper is addressed to novice researchers, researchers-practitioners and scholars with an interest in the theory of phenomenology. Drawing from a phenomenological research project that examined embodiment in Greek tragedy in the context of performer training and theatre directing, the article illustrates the methodological approach employed both in theory and practice. To this end, it proposes a model of data collection, organisation and analysis in interview design and practice-based research in performance. The proposed model sets subjectivity at its core and invests in the participants’ lived experience in an inclusive manner, concurrently calling on the investigator’s transparency as defined by the Husserlian epochè. It, therefore, comes into an inclusive step-by-step guide based on scientifically evident and ethically approved methods that accumulate Husserl and Giorgi’s phenomenological methods, Schön’s action research combined with Kolb’s reflective practice and tools for findings validation by Colaizzi (1978), Van Manen (1997) and Van Kaam (1966). Finally, in order to make phenomenological interviews more accessible, the article includes an interview schedule, which can be further developed and applied to practice-based research in both physical and digital environments.

… at the importance of embodiment within research methodology: “Embodiment is all the many … orientations of phenomenology and of performance because they both value embodiment. …

… The important difference, however, is that for phenomenology an embodiment it is not simply a matter of ‘performance’ or presentation but involves interactions between the body image, …