Professional Documents
Culture Documents
BIOGRAPHY
Stuart Grant is a Lecturer at Monash University in Melbourne Australia. He
specializes in philosophy of performance and performance as research with an
emphasis on phenomenology. He has published phenomenological work on
audience, laughter, rhythm and place. He is co-founder of the Association for
Phenomenology in Performance Studies and the phenomenology group in
Performance Philosophy.
11
13
15
17
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
18
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
confGBohme-eng.pdf.
Sondra Horton Fraleigh, Butoh: Metamorphic Dance
and Global Alchemy, University of Illinois Press, Urbana
2010, pp. 65-7.
Jan Patoka, Body, Community, Language, World, Open
Court, Chicago 1998, p. 85.
Ibid., p. 79.
Merleau-Ponty, 1962, op. cit., p. xx.
Maxine Sheets-Johnstone, The Phenomenology of Dance,
University of Wisconsin Press, Madison 1966.
Vivian Sobchack, Choreography for One, Two,
and Three Legs (a Phenomenological Meditation
in Movements) in Topoi, vol. 24 no. 1, 2005,pp.
55-66; Corinne Jola, Shantel Ehrenberg, and Dee
Reynolds, The Experience of Watching Dance:
PhenomenologicalNeuroscience
Duets
in
Phenomenology and the Cognitive Sciences, vol. 11 no. 1,
2012, pp. 17-37; Nigel Stewart, Dancing the Face of
Place: Environmental Dance and Eco-Phenomenology
in Performance Research, vol. 15 no. 4, 2010, pp. 3239; Emily Cross and Luca Ticini, Neuroaesthetics
and Beyond: New Horizons in Applying the Science of
the Brain to the Art of Dance in Phenomenology and
the Cognitive Sciences, vol. 11 no. 1, 2012, pp. 5-17;
Philipa Rothfield, Differentiating Phenomenology and
Dance in Topoi, vol. 24 no. 1, 2005, pp. 43-53 Sondra
Fraleigh, A Vulnerable Glance: Seeing Dance through
Phenomenology in Dance Research Journal, vol. 23 no.
1, 1991 pp. 11-16.
Bert O. States, Great Reckonings in Little Rooms: On the
Phenomenology of Theater University of California Press,
Berkeley 1985, p. 1.
Ibid.
Ibid., p. 14.
Daniel Johnston, Active Metaphysics: Acting as Manual
Philosophy or Phenomenological Interpretations of
Acting Theory, PhD thesis, University of Sydney
2008; Phillip B. Zarrilli, An Enactive Approach to
Understanding Acting in Theatre Journal, vol. 59 no.
4, 2007, pp. 635-647; Bruce W. Wilshire, Role Playing
and Identity: The Limits of Theatre as Metaphor, Indiana
University Press, Bloomington 1982; Phillip B. Zarrilli,
Toward a Phenomenological Model of the Actors
Embodied Modes of Experience in Theatre Journal, vol.
56 no. 4, 2004, pp. 653-666; Mark Seton, Forming
(in)Vulnerable Bodies: Intercorporeal Experiences in
Actor Training in Australia, PhD thesis, University of
Sydney 2004.
48 Wilshire, op. cit.
49 Stanton Garner, Bodied Spaces: Phenomenology and
Performance in Contemporary Drama, Cornell University
Press, Ithaca 1994.
50 Ibid., p. 10.
51 Ibid., p. 16.
52 Alice Rayner, To Act, to Do, to Perform: Drama and the
Phenomenology of Action, University of Michigan Press,
Ann Arbor 1994.
53 Simon Critchley, On Humour, Thinking in Action,
Routledge, London and New York 2002.
54 Benjamin Fisler, The Phenomenology of Racialism:
Blackface Puppetry in American Theatre, 1872-1939,
PhD thesis, University of Maryland 2005; Jan Mrazek,
Phenomenology of a Puppet Theatre: Contemplations on
the Art of Javanese Wayang Kulit, KITLV Press, Leiden
2005.
55 Susan Kozel, Closer: Performance, Technologies,
Phenomenology, MIT Press, Cambridge, MA 2007.
56 Helena Grehan, Performance, Ethics and Spectatorship
in a Global Age, Studies in International Performance,
Palgrave Macmillan, Basingstoke and New York 2009;
Bayly, op. cit.
57 Martin Welton, Feeling Theatre, Palgrave Macmillan,
Basingstoke 2012.
58 Kristin M. Langellier, A Phenomenological Approach
to Audience in Literature and Performance, vol. 3 no.
2, 1983, pp. 34-39; Stuart Grant, Fifteen Theses on
Transcendental Intersubjective Audience in About
Performance, vol. 10, 2010, pp. 67-79; Willmar
Sauter, The Theatrical Event: Dynamics of Performance
and Perception, Studies in Theatre History & Culture,
University of Iowa Press, Iowa City 2000.
59 Kevin Curran, Shakespeare and Phenomenology,
h t t p : / / s h a k e s p e a r e a n e x t e r i o r i t y. w o r d p r e s s .
com/2011/01/03/shakespeare-and-phenomenology/
(retrieved 16 March 2013).
60 Stockholm
University,
Phenomenology
and
Performance Studies, http://sisu.it.su.se/search/info/
TVFENO/en (retrieved 16 March 2013).
61 Hermann Schmitz, Rudolf Mllan and Jan Slaby,
Emotions Outside the Boxthe New Phenomenology
of Feeling and Corporeality in Phenomenology and the
Cognitive Sciences, vol. 10 no. 2, 2011, pp. 241-259.
62 Gernot Bhme, Atmosphere as the Fundamental
Concept of a New Aesthetics in Thesis Eleven, vol. 36
19
63
64
65
66
67
68
20
Copyright of Nordic Theatre Studies is the property of Nordic Theatre Studies and its content may not be copied
or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission.
However, users may print, download, or email articles for individual use.