The embodied nature of physical theater: artistic expression, emotions, interactions

ABSTRACT

The nature of physical theater can facilitate understanding of the complex characteristics of embodied movement . Given also the scarcity of empirical studies in the area , the purpose of this qualitative, phenomenological, and temporal study was to thoroughly examine the embodied nature of physical theater (e.g. unity of body and mind) within different aspects of movement, such as performativity, communication with others, and emotional expression. Seven undergraduate students (M_age = 20.43 ± 1.28 years old) enrolled in a semester-long physical theater class at a major Southeastern US university. Based on the qualitative, phenomenological analysis, three physical theater themes emerged regarding improved embodied sensations over the class period: a) embodied artistic expression (e.g. body-mind unison; sense of flow; physical theater as a form of exercise), b) embodied emotions (e.g. body and mind in emotion, expressing emotions freely), and c) embodied interactions (e.g. body, mind, and emotion in communication; more attentive to body language; communicating with the audience). In the field of Performing Arts, viewing movement holistically as an end in itself can bring about senses of fulfillment, body awareness, improved consciousness, and increased value of physical culture (value of creative movement), and well-being.

KEYWORDS:

• Physical theater
• Embodiment
• Merleau-Ponty
• Phenomenology
• Artistic Expression
• Emotions
• Interactions

Disclosure statement

No potential conflict of interest was reported by the author(s).

Additional information

Notes on contributors

Maria Kosma

Dr. Maria Kosma is an Associate Professor in the School of Kinesiology, Louisiana State University, Baton Rouge, LA, USA. She has numerous peer-reviewed journal article publications (current [March 2024] Google Scholar h-index: 24) and presentations and has advised several graduate and undergraduate students. She is currently the lead (first author) in about 58% of her research publications. She also serves as the Head of the Sport Unit for the Athens Institute for Education and Research (ATINER-Greece), and she is one of the editors of the Athens Journal of Sports. Her research is grounded in such philosophies as phronesis (practical wisdom/reasoning) and techne (art), existential phenomenology (e.g., embodied movement, body schema, and existential freedom), and the concepts of play and habitus to facilitate understanding of physical activity, health, and well-being.

Nick Erickson

Nick Erickson is an Associate Professor of Movement, the Head of M.F.A. Acting, and the Head of Physical Theatre in the School of Theater, Louisiana State University, Baton Rouge, LA, USA. He has performed at such places as Swine Palace, Intiman Theatre, Empty Space Theatre, Colorado Shakespeare Festival, and the Edinburgh Fringe Festival. He has acted in several movies including College, A Perfect Day, The Staircase Murders and Mahjong. He was a founding member of Diavolo Dance Theatre and for seven years co-choreographed and performed in almost all of the company’s pieces on three national tours and abroad. Since 2008, he has produced and directed an LSU student production to tour to the Edinburgh Festival Fringe every other year as an Academic Program Abroad.

Ashlynn Gremillion

Ashlynn Gremillion is currently pursuing her MS degree in Counseling at Southeastern Louisiana University, Hammond, LA, USA. She also holds an MS degree in applied sports psychology from Adams State University, Alamosa, CO, and a Bachelor of Science degree in Psychology from Louisiana State University (LSU), Baton Rouge, LA. She has served for several years as a teaching assistant in physical theater and especially in advanced aerial silks classes at LSU’s physical theater program.