This collection of essays addresses emergent trends in the meeting of the disciplines of phenomenology and performance. It
brings together major scholars in the field, dealing with phenomenological approaches to dance, theatre, performance, embodiment,
audience, and everyday performance of self. It argues that despite the wide variety of philosophical, ontological, epistemological,
historical and methodological differences across the field of phenomenology, certain tendencies and impulses are required
for an investigation to stand as truly phenomenological. These include: description of experience; a move towards fundamental
conditions or underlying essences; and an examination of taken-for-granted presuppositions. The book is aimed at scholars
and practitioners of performance looking to deepen their understanding of phenomenological concepts and methods, and philosophers
concerned with issues of embodiment, performativity and enaction.