This paper discusses a training scheme to develop a first-person dramaturgical practice where the performer is the thinking agent of the work. To advance this argument, together with Bleeker (2003) and Behrndt (2010) I consider dramaturgy as an act of thinking, as well as a decision-making labour in performance-making. Using Rudolf Laban’s Choreology and Preston-Dunlop and Sanchez-Colberg's (2010) choreological perspective as scaffolding for somatic awareness and movement training, added to McCormack’s practice-theory (2014) to look at choreological practice in a creative context, I propose to unravel how movement-thinking can be a path for establishing the performer’s dramaturgical agency within a somatic performance-making context. When recognising the performers’ movement experience and creative reasoning as dramaturgical, I set the discussion within the field of somatic perspectives. Acknowledging that somatics is an emerging field of practice and research (Eddy 2017), the quest for a dramaturgy that comes from the mover’s experience responds to Lehmann and Primavesi’s (2009) invitation to develop contemporary dramaturgical forms and practices that reflect current artistic and academic enquiry. With this, I consider the performer’s dramaturgy a somatic attitude on dance and theatre making where performers use their first-person perspective and affect to dramaturge their own work.

本文讨论了一种培养第一人称戏剧实践的培训方案，其中表演者是作品的思维主体。为了推进这一论点，我与 Bleeker (2003) 和 Behrndt (2010) 一起将戏剧构想视为一种思考行为，以及表演过程中的决策劳动。使用 Rudolf Laban 的舞蹈学和 Preston-Dunlop 和 Sanchez-Colberg (2010) 的舞蹈学观点作为躯体意识和运动训练的脚手架，添加到 McCormack 的实践理论 (2014) 中以在创造性的背景下看待舞蹈实践，我建议阐明如何动作思维可以成为在躯体表演背景下建立表演者戏剧代理的途径。当认识到表演者的动作体验和创造性推理具有戏剧性时，我将讨论置于躯体视角的范围内。承认身体学是一个新兴的实践和研究领域（Eddy 2017），对来自推动者经验的戏剧的追求响应了 Lehmann 和 Primavesi（2009）的邀请，以发展反映当前艺术和学术探究的当代戏剧形式和实践. 有了这个，我认为表演者的戏剧艺术是一种对舞蹈和戏剧制作的身体态度，表演者使用他们的第一人称视角和影响来戏剧化他们自己的作品。Lehmann 和 Primavesi（2009 年）邀请发展反映当前艺术和学术探究的当代戏剧形式和实践，从推动者的经验中寻求戏剧。有了这个，我认为表演者的戏剧艺术是一种对舞蹈和戏剧制作的身体态度，表演者使用他们的第一人称视角和影响来戏剧化他们自己的作品。Lehmann 和 Primavesi（2009 年）邀请发展反映当前艺术和学术探究的当代戏剧形式和实践，从推动者的经验中寻求戏剧。有了这个，我认为表演者的戏剧艺术是一种对舞蹈和戏剧制作的身体态度，表演者使用他们的第一人称视角和影响来戏剧化他们自己的作品。