The phenomenology of the actor’s physicality in theatrical work

The subject of analysis in this article will be the bodily art practice of creating an artistic image by an actor from the position of phenomenological theory. The author considers physicality as a key tool for an actor’s expressiveness. Consistently describes the stages of physical activity as a center of perception, reflection, experiences at the stages of representation of the “super task” and stage transformation. Particular attention is paid to the rational critical and emotional semantic intentions of aesthetic expectation, which are actualized “in the flesh” in the conditions of stage interpretation. A convincing argument is given about the essence of the actor’s physicality as empathy for oneself, but not the real one, but sublime above the situation of reality in connection with the drama introduced into a conditional situation. The author finds confirmation of the rationale in the works of stage masters, as well as psychological studies of artistic creativity. The key is the conclusion about the trans situational nature of the physicality of a theater actor, which goes beyond the limits of empirical spatiality and is transformed into a self concept that is new in quality in the stage space.