Due to the simultaneous linguistic and musical quality of voicing, voiced breath poses theoretical challenges to notions of ‘embodiment’, especially as they are used in theatre practice/studies. In this article, I make two intertwining arguments to address questions of the place of semantic meaning and conscious thought in performance practice/theories as they arose in my anthropological engagement with laboratory theatre. Firstly, theatre and performance practice/theories keen to embrace ‘embodiment’ often leave out things like explicit analysis, reflexivity, referential or semantic meaning and so on because, as my ethnography shows, they are judged as secondary, and thus belonging implicitly more closely to disembodied ‘mind’. I engage in anthropological comparison to show how other ways of being/knowing complicate any sense in which practices labelled ‘embodied’ can be seen as primary in contrast to conscious, linguistic or explicit knowing. Instead I outline an onto/epistemology of emergence that offers an alternative imaginary in which no binaries exist a priori. Rather all is a matter of ongoing mutual constitution. Secondly, while the discourses of embodiment in performance practice/theory that I critique may continue to reproduce dualist assumptions, theatre approaches influenced by Grotowski’s anti-method, focusing on continual revision of practice, offer insights for scholarship concerned with the ontological indistinguishability of social, psychological and physical phenomena. Laboratory theatre practices offer a prospective way of knowing, enabling an exploration of the ontological equality of breath, in this case in song, and the sorts of meaningfulness associated with language and analysis. In 2011, my Nanna (grandmother in Maltese) passed away in circumstances that remain traumatic to me. I turned with to my daily practices to find ways to scream, to grieve: to anthropology and to a particular practice of song in laboratory theatre, where encounter is actively sought. Arising from ethnographic and analytic engagement with such practices, in this article, I offer an anthropologically inflected critique of notions of embodiment in performance studies and performance philosophy. I present the alternative imaginary of emergence onto/epistemologies and the prospective investigative practices of laboratory theatre. I do this by weaving autobiographical, ethnographic and anthropological threads to explore my own practice relating to the work of my collaborator Gey Pin Ang, a Singaporean director, actor and pedagogue.

中文翻译：

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超越具身的呼吸：探索实验室剧场中的出现、悲伤和歌曲

由于语音同时具有语言和音乐品质，浊呼吸对“体现”的概念提出了理论挑战，尤其是当它们用于戏剧实践/研究时。在这篇文章中，我提出了两个相互交织的论点，以解决语义意义和有意识的思考在表演实践/理论中的位置问题，因为它们出现在我与实验室戏剧的人类学接触中。首先，热衷于拥抱“具身化”的戏剧和表演实践/理论经常遗漏诸如显性分析、反身性、指称或语义等内容，因为正如我的民族志所示，它们被判断为次要的，因此更隐含地属于到无形的“头脑”。我进行了人类学比较，以展示其他存在/认识方式如何使任何意义上的复杂化，在这些意义上，标记为“具身”的实践可以被视为与有意识的、语言的或外显的认识相比是主要的。相反，我概述了出现的本体/认识论，它提供了一种替代的想象，其中没有先验存在的二进制。相反，一切都是一个持续的相互构成的问题。其次，虽然我批评的表演实践/理论中的体现话语可能继续再现二元论假设，但受格洛托夫斯基反方法影响的戏剧方法，侧重于实践的不断修正，为关注社会本体论不可区分性的学术提供了见解，心理和生理现象。实验室剧场实践提供了一种前瞻性的认识方式，能够探索呼吸的本体论平等，在这种情况下是在歌曲中，以及与语言和分析相关的各种意义。2011 年，我的 Nanna（在马耳他的祖母）在对我来说仍然是创伤的情况下去世了。我转向我的日常实践，寻找尖叫、悲伤的方法：人类学和实验室剧院中的一种特殊的歌曲实践，在那里积极寻求相遇。由于对此类实践的人种学和分析性参与，在本文中，我对表演研究和表演哲学中的具身概念提出了人类学角度的批判。我提出了另一种出现在/认识论上的想象以及实验室剧院的前瞻性调查实践。我通过编织自传来做到这一点，