During his week-long residency, Phillip Zarrilli will present two lectures based on his new sole-authored book in progress, (toward) a phenomenology of acting, under contract with Routledge Press (London). Based on the Preface and Introduction of this new book, Lecture 1 is a more general/introductory lecture mapping the ‘studio’ as a meeting place for “embodied enquiry” and reflection. Lecture 2 is based on a specific chapter of the book and explore a specific topic in depth. Both lectures will make use of power-point/slide presentations, and short video clips.
18 April 2018 (Wednesday)
Scena F22, Frankopanska 22, Zagreb
Acting without ‘meaning’ or ‘motivation’: first-person accounts of acting in the pre-articulate world of immediate lived/living experience
Stanislavsky clearly identified the need for actors to be able to ‘discover things anew’. How might a phenomenological perspective on embodied processes help the actor learn to “discover things anew” even when she is constantly involved I processes of repetition? Drawing specifically on first-person accounts of two non-verbal performances, Samuel Beckett’s Act Without Words I, and Ota Shogo’s The Water Station, in this lecture I explore acting ‘without meaning or motivation’. Here acting as a phenomenon and process is viewed as a pre-articulate world of immediate lived/living experience. I analyze in detail the actor’s lived/living (Leib) body(mind) as a ‘messenger of the unsaid’—observing how the performer’s ‘lifeworld’ (Lebenswelt) is constituted in the pre-articulate present before words, meaning, or motivation. Central to my analysis of the ‘unsaid’ are key concepts drawn from the work of philosophers Martin Heidegger and Mark Rowlands.
20 April (Friday)
12:00: 13:00 Lecture
13:00: 14:00Panel Discussion
Velika scena, Akademija dramske umjetnosti, Trg Republike Hrvatske 5, Zagreb
Embodied Consciousness: where phenomenology, cognitive science, and performance meet
In this lecture, I explore ‘the studio’ as a site for philosophical exploration–a site where the training/practices of the actor offer the possibility of “doing” philosophy “in the flesh”. Citing the reflexive practices of key historical figures who have focused on the actor’s embodied consciousnesss–Zeami (the founder of Japanese noh), Stanislavsky, and Grotowski–I explore “the studio” as a meeting place—a location where phenomenology and cognitive science can inform the actor’s embodied process as a form of “embodied enquiry”, and (vice-versa) where reflecting on the actor’s complex modes of embodying consciousness can inform developments in phenomenology and cognitive science. Defining the actor’s work as a mode of ‘embodied enquiry’ is an invitation to further re-consider the complexitiesof the actor/performer’s embodied experience, awareness, attention, and consciousness from ‘inside’ the act of performing–a location marked by bodily/sensory/experiential depth.