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Published online by Cambridge University Press: 04 November 2020
When I last heard from Phillip Zarrilli in August 2019, he was going through the page proofs of what would be his final monograph, (Toward) A Phenomenology of Acting. He and I had been in regular contact with each other while writing books about theatre phenomenology; he from the performer and director's point of view, and I from the spectator's. As it turned out, his book came out a year after mine did, and by the time I was able to read it I had lost the chance to tell him how good I thought it was.
1 Bleeker, Maaike, Sherman, Jon Foley and Nedelkopoulou, Eirini, eds., Performance and Phenomenology: Traditions and Transformations (London: Routledge, 2017)Google Scholar; and Grant, Stuart, McNeilly-Renaudie, Jodie and Wagner, Matthew, eds., Performance Phenomenology: To the Thing Itself (London: Palgrave Macmillan, 2019)CrossRefGoogle Scholar.
2 Blau, Herbert, Take Up the Bodies: Theater at the Vanishing Point (Urbana, IL: University of Illinois Press, 1982), p. 86Google Scholar.
3 Zarrilli, Phillip, ‘“Beneath the Surface” of Told by the Wind: An Intercultural Performance of Performance Dramaturgy and Aesthetics’, Asian Theatre Journal, 32, 1 (Spring 2015), pp. 46–78CrossRefGoogle Scholar, here p. 47.
4 Elisabeth Mahoney, review of Told by the Wind, The Guardian, 2 February 2010, at www.theguardian.com/stage/2010/feb/02/told-by-the-wind-review, accessed 6 June 2020.
5 Zarrilli, Phillip, (Toward) A Phenomenology of Acting (London: Routledge, 2020), p. 12Google Scholar. Emphasis in the original.
6 Zarrilli, Phillip, When the Body Becomes All Eyes: Paradigms, Discourses, and Practices of Power in Kalarippayattu, A South Indian Martial Art (Delhi: Oxford University Press, 1998)Google Scholar.