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How can the contemporary actor’s body and experience in performance be theorized? 2 What methodological tools are useful in an attempt to better understand the embodied work of the actor? This essay applies one among a set of complimentary methodological tools to this question—a post‐Merleau-Ponty phenomenology. 3 Like all accounts of embodiment and experience this one is necessarily limited by “our propositional modes of representation,” since it is extremely difficult “to express the full meaning of our experience.” 4 In spite of such limitations, this essay is intended to contribute to phenomenological studies of embodiment by extending their focus from
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Phillip B. Zarrilli (2004) studied this question.
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