Exploring Epistemological and Phenomenological Dimensions in Drama and Theatre Studies

JOE WOODWARD
Jan 12
6 min read

With Drama studies becoming more limited and reduced in education and even being more constricted in actual presentation, it is worth considering a couple of crucial points in its academic and physical frameworks. Though sometimes regarded as outdated relics of the past, the ephemeral nature of live performance provides unique emotional and physical dimensions creating an intersection of knowledge and experience. Understanding and incorporating epistemological and phenomenological perceptions in drama and theatre study and presentation enhances the cultural creation and appreciation of theatrical works. Such incorporation encapsulates how we know, interpret, and feel stories and expressions presented on stage; while influencing production choices and audience engagement taking it beyond narcissism.

Eye-level view of a theatre stage with actors performing a dramatic scene — Actors in an empty space

Understanding Epistemology in Drama and Theatre

Individual insights from writers, directors, dramaturgs, actors and designers shape the kind of meaning being created or channelled in a work of theatre. This does not preclude intuitive creativity. However, at some point each participant in the process needs to be aware of the precepts that govern the created work.

What is the take on a particular story or theme? Is it derived from history, culture, society etc? The job of the playwright, director and/or dramaturg is intricately concerned with such questions. What forms of knowledge are needed and how will they be incorporated?

Knowledge through image creation and storytelling: Narratives and designs exploring meaning offering insights into social structures, relationships and power draw upon history or specific events as starting points. Some begin with philosophical questions.
The role of the playwright, director and teacher: The groundwork for theatre presentation starts with some connection or awareness of a particular area of knowledge and content that needs framing. This shaping of what is being developed and presented can be a complex task. Developing a perspective on a particular area can be a very specific task that doesn't finish with the writer. Directors and dramaturgs try to challenge truths in order to find the perspective needed for the work. Actors then challenge perspectives to find the reality that can be held up for audience consideration and inspection; perhaps to even challenge and reconsider their own perspectives!
Audience as knowledge participants: Part of Drama education is to enhance the artistic literacy of audiences. They are not passive receptacles. If audiences are to engage with theatre and gain worthwhile experiences and even new knowledge, then education is needed to negotiate the forms that theatre utilises. Just as the old-style music-appreciation classes invited people to engage with different forms in order to both and enjoy perhaps play music, Drama needs to recognise people's own dramas and stories while acquainting people with forms and styles beyond the familiar.

Epistemology raises questions. It asks about inherent truth and how it can be represented. Epistemological questions relate to an understanding of norms and a notion of fundamental truths. Does factual accuracy necessarily reveal truth? Can a work theatre expose something deeper? Such questions are faced by studies and practical productions.

Epistemology is then a starting point. However, more significantly in the educative and practical application of theatre is the discipline of Phenomenology.

Phenomenology and the Experience of Theatre

Phenomenology begins with actual lived experience. Eugenio Barba devoted a whole book on this topic. In one section he wrote of the "Actor's Dramaturgy". He outlined how important it was for the actor to recognize their experience in order to step from it to the intentions of character. Barba wrote:

"... the actor’s logic ... did not correspond to my intentions as a director, nor to those of the author. The actor drew this logic from her biography, from her personal needs, from her experience and the existential and professional situation, from the text, the character or the tasks received, and from the relationships with the director and with the other colleagues. In theatre, it examines how actors and audiences experience the performance in the moment." (Barba, E. ON DIRECTING AND DRAMATURGY Burning the house, Translated by Judy Barba, LONDON AND NEW YORK 2010)

Embodiment in acting: This dramaturgy is the starting point for phenomenological approaches to creating effective theatre. Recognition that actors, directors and all involved in the creative process each have their own private dramaturgy is the first step in a phenomenological theatre. Barba speaks of "organic" acting deriving from recognition of this process. He adds that any actors not doing this are really NOT actors at all. Elements of movement, speech and gesture that don't begin with recognition of individual dramaturgy are devoid of any authenticity. And thus are largely meaningless!
Audience engagement: Phenomenology highlights the sensory and emotional impact of theatre. Lighting, sound, space, and timing all contribute to how the audience experiences the event.
The “lived moment” of performance: Phenomenological approaches lift a presentation bringing it into the present! Each performance is a unique act; an ephemeral existence caught between actors and audience. This provides a problem for reviewers of theatre. The reviewer is in effect providing a kind of dramaturgy of dramaturgy. Of course, many reviewers are totally unaware of their engagement with their particular forces that shape their world view ... and so it goes ...

Close-up view of an actor’s hands manipulating stage props during a rehearsal — Actor’s hands adjusting stage props during rehearsal

Integrating Epistemology and Phenomenology in Theatre Production

Combining these dimensions enhances both study and production:

Script analysis: Starting with epistemological aspects allows the initial intentions of the text to be elevated and deeply considered.
Performance choices: Phenomenological approaches offer organic acting allowing for a more alive performance within the present.
Audience interaction: Highlighting the audiences cultural and background experiences allows for work that may well have a greater resonance and ability to focus continued communal dialogue on the epistemological elements of the production.

In our production of "Romeo and Juliet" the actors emerged in the proximity with the audience and even from around the tables where they placed their meals and drinks. The idea was to show that these young people were just like young people now; the same pressures and desires existed. While we also showed Juliet's mother taking drinks from the audience area and being very close to the audience in her most emotional scene. Epistemological themes of family relations and cultural madness were highlighted by this use of proximity.

A similar approach is being used in our production of "Rhinoceros" by Eugene Ionesco. The comical rhinos are obvious puppets and masked characters seen doing things like a conga line dance. While bringing out the absurd, the epistemological elements of conformity and petty denial within a personalised context within society might well be applied.

Practical Applications in Drama Education and Production

Drama educators and theatre practitioners can apply these concepts to improve learning and creativity:

Encourage students to explore how knowledge is presented in scripts and performances.
Use exercises that focus on sensory awareness and emotional presence to deepen phenomenological understanding.
Design productions that challenge audiences to question their assumptions and engage actively with the performance.

These approaches foster critical thinking and empathy, essential skills for both theatre makers and audiences.

High angle view of a theatre rehearsal space with actors practicing movement exercises — Actors practicing movement exercises in theatre rehearsal space

Final Thoughts on Epistemological and Phenomenological Dimensions in Theatre

About twenty years ago, I developed the Drama Framework for the ACT Drama courses. That was when there was a separate framework from the merged Arts Framwork that now exists as constructed by the Board of Senior Secondary Studies in the ACT. In that initial Framework, I included the notions of Phenomenological and Ontological considerations. Of course, five years later when the framework was revised, the philosophical terminology and their implications were thrown out. While I consider now that Ontology is probably too remote for our Drama and Theatre studies, Epistemology provides a great framework for Drama to fully investigate truths and validity in texts and in all areas of arts practice. Phenomenology might well be the practical starting point for all creative work in Drama and Theatre. In many ways it already is ... however, it might be useful to more formally use it to shape our curriculum and our practice with real people working in this ephemeral art form ...

Joe Woodward 11 January 2026

Tickets for RHINOCEROS by Eugene Ionesco may be accessed here: https://events.humanitix.com/rhinoceros-cnbc99wn