ABSTRACT This study investigates performer training in ankoku buto dance, focusing specifically on the methods of Japanese avant-garde artist Hijikata Tatsumi, who is considered the co-founder and intellectual force behind this form. The goal of this study is to articulate the buto dancers preparation and practice under his direction. Clarifying Hijikata's embodied philosophy offers valuable scholarship to the ongoing buto studies dialogue, and further, will be useful in applying buto methods to other modes of performer training. Ultimately, my plan is to use the findings of this study in combination with research in other body-based performance training techniques to articulate the pathway by which a performer becomes empty, or nothing, and what that state makes possible in performance. In an effort to investigate the historically-situated and culturally-specific perspective of the body that informed the development of ankoku buto dance, I am employing frameworks provided by Japanese scholars who figure prominently in the zeitgeist of 1950s and 1960s Japan. Among them are Nishida Kitaro, founder of the Kyoto School, noted for introducing and developing phenomenology in Japan, and Yuasa Yasuo, noted particularly for his study of ki energy. Both thinkers address the body from an experiential perspective, and explore the development of consciousness through bodily sensation. My research draws from personal interviews I conducted with Hijikatas dancers, as well as essays, performance videos and films, and Hijikata's choreographic notebooks. I also track my own embodied understanding of buto, through practicing with these various teachers and using buto methods to teach and create performance work. / Dance

This thesis examines key concepts from philosophers Nishida Kitaro, Maurice Merleau-Ponty and Fredriche Nietzsche and applies them to elements of Michael Chekhov’s practice of acting. The three philosophers, in different ways, suggest an ‘optimal’ state, beyond a dualistic separation of the fictive from the real and the visible from the invisible, that challenges seemingly unbridgeable dualisms between inner and outer, subject and object, being and becoming and experiencer and experienced. The purpose of this thesis is to analyze and understand these selected ‘optimal’ modes of consciousness in performance and, therefore, open up new ways of thinking about Michael Chekhov’s acting processes; in particular the ‘Psychological Gesture’. The thesis asks the following questions: 1. How can the application of selected philosophical paradigms to the Psychological Gesture through theory and practice further our understanding of Michael Chekhov’s work? 2. How do selected aspects of the fields of phenomenology, post-phenomenology, cognitive sciences, consciousness studies and philosophy of mind, aid in developing an articulation and understanding of an ‘optimal’ state of consciousness as a necessary aspect of the actor’s performance in Michael Chekhov’s work and theatre practice? 3. How can this project develop the way we are able to talk about Michael Chekhov’s work and wider acting processes?