In this article, the performing body is considered via a three-pronged approach involving affect theory and affective science, a scene from King Lear, and long-distance running. Inspired by the chiaroscuro of painting, this variety and mix of sources act as a methodological device to shed unfamiliar light (and shade) on the elusive topic of affect. While ‘body’ is viewed from the perspective of ‘bodyworld’ to denote constitutive and reciprocally shaping human–nonhuman relationalities, the ‘performance’ that occurs in bodies is analyzed in terms of a ‘drama of affect’ to signal the activity that germinates and circulates at various levels of consciousness in human behaviour, whether aesthetic, athletic, or daily. Frank Camilleri is Professor of Theatre Studies at the University of Malta and Artistic Director of Icarus Performance Project. He has performed, given workshops, and published various texts on performer training, theatre as a laboratory, and practice as research. He is the author of Performer Training Reconfigured: Post-Psychophysical Perspectives for the Twenty-first Century (Bloomsbury, 2019) and Performer Training for Actors and Athletes (Bloomsbury, forthcoming).

中文翻译：

---

有感觉地看：关于表演中的情感和身体世界

在这篇文章中，表演主体通过涉及情感理论和情感科学的三管齐下的方法来考虑，场景来自李尔王和长跑。受绘画明暗对比的启发，这种来源的多样性和混合充当了一种方法论手段，可以在难以捉摸的情感主题上揭示不熟悉的光（和影）。虽然从“身体世界”的角度来看“身体”表示构成性的和相互塑造的人与非人之间的关系，但身体中发生的“表现”根据“情感戏剧”来分析，以表明活动的萌芽和发展。在人类行为的不同意识层次上循环，无论是审美的、运动的还是日常的。Frank Camilleri 是马耳他大学戏剧研究教授和伊卡洛斯表演项目的艺术总监。他进行过表演，开办过讲习班，并出版过各种关于表演者培训、戏剧实验室和实践研究的文本。他是重新配置的表演者培训：二十一世纪的后心理物理学观点（布卢姆斯伯里，2019 年）和演员和运动员的表演者培训（布卢姆斯伯里，即将出版）。