Emotional Geographies of Method Acting in Asian American Theater

Contemporary Cambodian dance and sites of national culture: Chumvan Sodhachivys YouTube page

“…how meaning is literally embodied in the dancer's physicality, in the phenomenological realities of weight, space and movement intentionality' (Albright 1997, 50). There are limitations to this approach in terms of capturing experience and feeling, but observational techniques can convey the expressiveness of the performing body (Rogers 2012, Veal 2016. For screendances, issues of editing and screen spatiality are paid greater attention.…”

All the World's a Con: Frontstage, Backstage, and the Blurred Boundaries of Cosplay

“…In the process of portraying a character onstage, the actor moves from “me” to “not‐me” to “not‐not‐me” (Turner 1982:120–21). If “me” is the idea of the self, and “not‐me” is the character as it appears in the text to be acted out, then “not‐not‐me” is a synthesis of the self and the character or persona to be played (see also Rogers 2012 on method acting). This synthesis is what allows theatrical acting to be believable.…”

Advancing the geographies of the performing arts

“…This section articulates how engaging with the field of intercultural performance can extend geographical analyses of the performing arts that focus on identity. The relationship between identity and the performing arts is a long-standing theme in geographical research (see Cresswell, 2006; Nash, 2000; Richardson, 2013, 2015; Rogers, 2010, 2012b), but as geographers focus their attention on how marginalized, precarious or vulnerable bodies are engaged in, and validated by, the performing arts, issues of identity are increasingly being recast through a concern with how performance facilitates socio-cultural interactions. As a result, the languages and practices of interculturalism are starting to appear (Noxolo, 2016; Pratt et al, forthcoming; Richardson, 2013; Rogers, 2014, 2015; Veale, 2015).…”