Action as Identity: The Constitutive Role of Embodied Action in Performer’s Presence on Stage

다국어 초록 (Multilingual Abstract)

This thesis examines the constitutive role of action in the formation of a performer’s identity and stage presence, advancing the argument that identity in live performance is not the expression of a pre-existing inner essence but an effect produced through embodied, intentional, and socially legible action. In contrast to approaches that privilege psychological interiority, emotional intensity, and/or personal charisma as the primary sources of presence, this study proposes action as the central mechanism through which a performer’s identity is enacted, perceived, and legitimated on stage. The research is situated at the intersection of performance studies, phenomenology, sociology, and performer training. It draws on dramaturgical and sociological theories, particularly Erving Goffman’s analysis of identity as an effect of behavior and impression management, to frame identity as an emergent phenomenon constituted through action within socially framed situations. This perspective is extended through Richard Schechner’s concept of restored behavior and Judith Butler’s theory of performativity, both of which elucidate how repeated, codified actions situate the performer within recognizable professional and cultural lineages. Phenomenological accounts of embodiment, notably those of Maurice Merleau-Ponty and Maxine Sheets-Johnstone, further inform the study by conceptualizing presence as an experiential and perceptual event arising from intentional bodily engagement and the dynamic coherence of movement. In parallel, the thesis critically discusses action-based methodologies in performer training, including those developed by Konstantin Stanislavski, Jerzy Grotowski, Anne Bogart, and Rudolf Laban. Despite their differing historical and aesthetic contexts, these approaches converge in their emphasis on disciplined physical action as the foundation of stage presence and professional identity. By synthesizing these theoretical and practical perspectives, this thesis concludes that action does not merely support or enhance stage presence but fundamentally constitutes it. The study contributes a comprehensive framework for understanding performer identity as an embodied, relational, and socially validated process, with implications for performer training, performance analysis, and broader discourses on embodiment and identity in live performance.