Description
A valuable new touchstone for phenomenology and performance as research. In this book, Daniel Johnston examines how phenomenology can describe, analyze, and inspire theater-making. Each chapter introduces themes to guide the creative process through objects, bodies, spaces, 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 throughout explore how the theatrical event can offer unique insights into being and existence, as Johnston’s philosophical perspective shines a light on broader existential issues of being. In this way, the book makes a bold contribution to the study of acting as an embodied form of philosophy and reveals how phenomenology can be a rich source of creativity for actors, directors, designers, and collaborators in the performance process.
Brimming with insight into the practice and theory of acting, this original new work stimulates new approaches to rehearsal and sees theater-making as capable of speaking back to philosophical discourse. Daniel Johnston is an honorary research associate at the University of Sydney.
List of IllustrationsAcknowledgementsA Note on the Text1. Beginnings: Being ThereTouching Hands with BeingWhat Is Phenomenology?Performance and PhenomenologyPhilosophers on StageMapping the Self2. Phenomenology: Being-in-the-WorldSome Background TermsSpace and BodiesThe History of BeingDestruktion and the TextFrom Theory to PracticeObserve a WalkObserve StillnessScrutinize an ObjectChart a Place Well Known to YouUnpack a Place Where You Feel At HomeDissect a Familiar ActivityDescribe a PersonRecount a Time When You Struggled to CommunicateDemonstrate a Moment When You Had an Unusual Experience of TimeStage a Life ChoiceRecreate the Instant in Which Your Life Was ThreatenedText-Character-Performance3. Being-with Others:
The Cherry OrchardEquipmentInvolvementTouchBeing ElsewhereOther PeopleAuthenticity and Freedom:
AntigoneFallingNothingnessMoods and FaringThrownness and ProjectionFate and Destiny5. Time and Resoluteness:
HamletTimelinessHaving a HistoryBeing-a-WholeResolutenessBeing-towards-Death6. Possibilities:
AletheiaOn the Essence of Truth in TheatrePoetry, Language, TheatreBuilding, Dwelling, TheatreThe Question concerning Theatre TechnologyEreignisReferencesIndex
“Daniel Johnston’s Phenomenology for Actors: Theatre-Making and the Question of Being proves itself as a book that successfully brought forward a uniquely fresh idea of showing how philosophy can contribute to the creative process and theatre-making. It is undeniable that this is relevant to the literature of performance phenomenology as well as its practical use for theatre-makers. Giving attention to the book as being easy to digest while discussing heavy phenomenological and existential themes, even those who have minimal to no background in phenomenology will be able to find this book useful and apply its samples.”
