The art of I am : a performative approach towards art education

This thesis is developed for proposing the idea of embodiment in
today?s art education. Proposed pedagogic model is the embodied
learning through experiencing stage acting.
I claim embodiment is the balance of multiplicities of self and
embodied capacity is like the thread to connect all the senses in
our body. Embodied capacity is the craft of experiencing ourselves
in art as well as in the learning of art. An embodied status must
be ontologically experienced; it is originated from a series of
dynamic reflections, capable of providing simultaneous actions and
reactions in responding to whatever we have encountered the world.
Reflections and actions intertwine together to generate our
ontological senses of sensibility and creativity.
Embodied capacity can be best explored through experiencing stage
acting, because theatre is the place for us to create another world
to inhabit. Through developing the ontological affections on the
stage, we are capable of creating ourselves in the world from within
the world. This is the main purpose of this thesis ? to propose the
notion of acting as a path towards experiencing the feeling of ?I
am,? and ?the feeling of I am? as a path towards experiencing the
feeling of ?I am in art.?
To support my ideas, I mostly apply Heidegger?s Ontology and
Merleau-Ponty?s Body Aesthetics as philosophical references of
reflection. For the implementation of acting, I apply my group ?
the Xiang Performance Group - as a case of study. However, I wouldn?t
like to treat this thesis as a study of the theory of acting, or
the application of philosophy upon acting, because, eventually, I
am doing art education, not theatre education or aesthetic
education.
As an artist as well as an art educator, I always believe the essence
of today?s art education does not lie in the knowing of art, but
in the embodied affections through experiencing art. Through
developing our embodied capacities, our authentic sense of touch
can be sharpened, our conventional body-mind relationship can be
refreshed, and our natural gift of creativity and imagination can
be reflected.
Act 1 is the analyses of art and acting.
Act 2 (The Embodied Mind) is the analyses of reflection.
Act 3 (The Medium) is the analyses of body.
Act 4 (The Method) is the method of my trial.