Professor Phillip Zarrilli

Publications

Books

with Zarrilli P, Daboo J, Loukes RM, Acting: Psychophysical Phenomenon and Process - Intercultural and Interdisciplinary Perspectives, Palgrave Macmillan, 2013.

with Zarrilli PB, Zarrilli PB, McConachie BM, Sorgenfrei CM, Williams GJ, Theatre Histories: An Introduction, 2nd Edition, London, Routledge, 2010.

Psychophysical Acting: an intercultural approach after Stanislavski, London, Routledge, 2009.

with Zarrilli PB, McConachie BA, Williams GJ, Sorgenfrei CF, Theatre Histories: An Introduction., Routledge, 2006.

Acting (Re)Considered: A Guide to Theories and Practices., London, Routledge, 2002.

Kathakali dance-drama: where gods and demons come to play, London, Routledge Press, 2000.

When the Body Becomes All Eyes: paradigms and practices of power in kalarippayattu, a south Indian martial art, Oxford University Press, 1998.

with Zarrilli PB, Richmond F, Swann D, Indian Theatre: traditions of performance, Honolulu, Hawaii, USA, University of Hawaii Press, 1990.

The Kathakali Complex: actor, performance, structure, New Delhi, Abhinav Publishers, 1984.

Articles

Psychophysical Approaches and Practices in India: Embodying Processes and States of ‘Being-Doing‘: the traditions and practice of psychophysical performance in Kerala, India, New Theatre Quarterly, vol. 27, no. 3, Cambridge University Press, 2011, 244-271

Embodying, imagining, and performing displacement and trauma in central Europe today, New Theatre Quarterly, vol. 24, no. 93, Cambridge University Press, 2008, 24-40

The Metaphysical Studio, TDR/The Drama Review, vol. 46, no. 2, 2007, 157-170

with Zarrilli PB, Merlin B, On acting, CONTEMPORARY THEATRE REVIEW, vol. 17, no. 1, 2007, 3-6

‘Sketches of Kerala - Gods never die; The time of the puppets; The three wise monkeys‘, ETHNOMUSICOLOGY, vol. 51, no. 3, 2007, 539-541

Hidden territories: the theatre of Gardzienice, CONTEMPORARY THEATRE REVIEW, vol. 15, no. 1, 2005, 147-148

Toward a phenomenological model of the actor‘s embodied modes of experience, THEATRE JOURNAL, vol. 56, no. 4, 2004, 653-+

Toward a Phenomenological Model of the Actors Embodied Modes of Experience., Theatre Journal, vol. 56, no. 4, 2004, 653-666

Kattaikkuttu: The flexibility of a South Indian theatre tradition, ASIAN THEATRE JOURNAL, vol. 20, no. 1, 2003, 100-102

‘Karna‘s Death‘: A play by Pukalentirrulavar, ASIAN THEATRE JOURNAL, vol. 20, no. 1, 2003, 100-102

The metaphysical studio (Contemporary performance), TDR-THE DRAMA REVIEW-A JOURNAL OF PERFORMANCE STUDIES, vol. 46, no. 2, 2002, 157-170

‘Karna‘s Death‘: A play by Pukalentirrulavar, ASIAN THEATRE JOURNAL, vol. 19, no. 1, 2002, 245-247

Rattaikkuttu: The flexibility of a South Indian theatre tradition, ASIAN THEATRE JOURNAL, vol. 19, no. 1, 2002, 245-247

Embodying the lion‘s ‘fury‘ - Ambivalent animals, activation and representation (The potential of violence and the transformative state of being/doing), PERFORMANCE RESEARCH, vol. 5, no. 2, 2000, 41-54

Chandralekha: Woman dance resistance - Bharucha,R, ASIAN THEATRE JOURNAL, vol. 14, no. 1, 1997, 141-144

‘KALYANASAUGANDHIKAM‘ (THE ‘FLOWER OF GOOD FORTUNE‘), A KATHAKALI DRAMA BY TAMPURAN,KOTTAYAM, ASIAN THEATRE JOURNAL, vol. 13, no. 1, 1996, 1-&

DISCIPLINES OF THE TEXT SITES OF PERFORMANCE - COMMENT, TDR-THE DRAMA REVIEW-A JOURNAL OF PERFORMANCE STUDIES, vol. 39, no. 1, 1995, 38-41

KALATATTVAKOSA - A LEXICON OF FUNDAMENTAL-CONCEPTS OF THE INDIAN ARTS, VOL 1, 8 SELECTED TERMS, VOL 2, CONCEPTS OF SPACE AND TIME - BAUMER,B, ASIAN THEATRE JOURNAL, vol. 12, no. 1, 1995, 207-209

THE CAMBRIDGE GUIDE TO ASIAN THEATER - BRANDON,JR, JOURNAL OF ASIAN STUDIES, vol. 53, no. 3, 1994, 892-893

AN OCEAN OF POSSIBILITIES, FROM LOKADHARMI TO NATYADHARMI IN A KATHAKALI-SANTANAGOPALAM, COMPARATIVE DRAMA, vol. 28, no. 1, 1994, 67-89

ACTING - HARROP,J, TDR-THE DRAMA REVIEW-A JOURNAL OF PERFORMANCE STUDIES, vol. 38, no. 1, 1994, 177-182

ACTORS AND ONLOOKERS - THEATER AND 20TH-CENTURY SCIENTIFIC VIEWS OF NATURE - SCHMITT,NC, TDR-THE DRAMA REVIEW-A JOURNAL OF PERFORMANCE STUDIES, vol. 38, no. 1, 1994, 177-182

THE ACTORS INSTRUMENT - BODY, THEORY, STAGE - HUSTON,H, TDR-THE DRAMA REVIEW-A JOURNAL OF PERFORMANCE STUDIES, vol. 38, no. 1, 1994, 177-182

THE DRAMATIC TOUCH OF DIFFERENCE - THEATER, OWN, AND FOREIGN - FISCHERLICHTE,E, RILEY,J, GISSENWEHRER,M, TDR-THE DRAMA REVIEW-A JOURNAL OF PERFORMANCE STUDIES, vol. 38, no. 3, 1993, 202-205

with GRANDY S, ZARRILLI P, IT WAS LIKE A PLAY IN A PLAY IN A PLAY, ‘TALES FROM SOUTH ASIA‘ IN AN INTERCULTURAL PRODUCTION, TDR-THE DRAMA REVIEW-A JOURNAL OF PERFORMANCE STUDIES, vol. 38, no. 3, 1993, 168-184

INTERCULTURALISM AND PERFORMANCE - WRITINGS FROM PAJ - MARRANCA,B, DASGUPTA,G, TDR-THE DRAMA REVIEW-A JOURNAL OF PERFORMANCE STUDIES, vol. 38, no. 3, 1993, 202-205

CONTESTED NARRATIVES ON AND OFF THE KATHAKALI DANCE-DRAMA STAGE, MODERN DRAMA, vol. 35, no. 1, 1992, 101-116

STORYTELLERS, SAINTS, AND SCOUNDRELS - FOLK NARRATIVE IN HINDU RELIGIOUS TEACHING - NARAYAN,K, ASIAN THEATRE JOURNAL, vol. 8, no. 1, 1991, 91-92

THE CULT OF DRAUPADI-I, MYTHOLOGIES - FROM GINGEE TO KURUKSETRA - HILTEBEITAL,A, ASIAN THEATRE JOURNAL, vol. 8, no. 2, 1991, 183-184

ACTING AS A WAY OF SALVATION - A STUDY OF RAGANUGA BHAKTI SADHANA - HABERMAN,DL, ASIAN THEATRE JOURNAL, vol. 8, no. 2, 1991, 184-186

MUDRAS IN KATHAKALI - VENU,G, ASIAN THEATRE JOURNAL, vol. 7, no. 1, 1990, 113-114

INDIA - 3 RITUAL DANCE-DRAMAS (RASLILA, KATHAKALI, NAGAMANDALA) - GEORGE,DER, ASIAN THEATRE JOURNAL, vol. 6, no. 1, 1989, 95-97

WHERE THE HAND [IS] + THE SEQUENCE OF HAND AND EYE-MOVEMENT IN CLASSICAL INDIAN DANCE, ASIAN THEATRE JOURNAL, vol. 4, no. 2, 1987, 205-214

THE ‘WONDROUS CREST-JEWEL‘ IN PERFORMANCE - JONES,CR, ASIAN THEATRE JOURNAL, vol. 4, no. 2, 1987, 230-232

STRUCTURE AND SUBJUNCTIVITY, WIJAYA,PUTU THEATER OF SURPRISE + EXCERPTS FROM ‘GEEZ‘, DRAMA REVIEW, vol. 31, no. 3, 1987, 126-159

TOWARD A DEFINITION OF PERFORMANCE STUDIES .2., THEATRE JOURNAL, vol. 38, no. 4, 1986, 493-496

TOWARD A DEFINITION OF PERFORMANCE STUDIES .1., THEATRE JOURNAL, vol. 38, no. 3, 1986, 372-376

DANCE AND MUSIC IN SOUTH ASIAN DRAMA - CHHAU, MAYAKALI PYAKHAN, AND YAKSHAGANA - REPORT OF ASIAN TRADITIONAL PERFORMING ARTS, 1981, JOURNAL OF ASIAN STUDIES, vol. 44, no. 2, 1985, 419-421

KRISHNA THEATER IN INDIA - VARADPANDE,ML, ASIAN THEATRE JOURNAL, vol. 1, no. 2, 1984, 236-240

TRADITIONS OF INDIAN THEATER - VARADPANAE,ML, ASIAN THEATRE JOURNAL, vol. 1, no. 2, 1984, 236-240

ANCIENT INDIAN AND INDO-GREEK THEATER - VARADPANDE,ML, ASIAN THEATRE JOURNAL, vol. 1, no. 2, 1984, 236-240

DOING THE EXERCISE - THE IN-BODY TRANSMISSION OF PERFORMANCE KNOWLEDGE IN A TRADITIONAL MARTIAL-ART + KALARIPPAYATTU OF KERALA, INDIA, ASIAN THEATRE JOURNAL, vol. 1, no. 2, 1984, 191-206

THE CRITIQUE OF INDIAN THEATER - VARADPANDE,ML, SUBHEDAR,S, ASIAN THEATRE JOURNAL, vol. 1, no. 2, 1984, 236-240

A GUIDE TO KATHAKALI - BOLLAND,D, THEATRE JOURNAL, vol. 33, no. 3, 1981, 419-419

KALARIPPAYATT, MARTIAL ART OF KERALA, DRAMA REVIEW, vol. 23, no. 2, 1979, 113-124

Chapters

Foreword, in Odin Teatret: Theatre in a New Century, Palgrave, 2012

The Metaphysical Studio, in THE STUDIO, London: Whitechapel Gallery and MIT Press, 2012, 104-108

“…presence…” as a question and emergent possibility: a case-study from the performer’s perspective, in Giannachi G, Kaye N, Shanks M (eds) Archeologies of Presence: acting, performance, being, London: Routledge Press, 2011

“Altering consciousness in performance east and west”, in Cardena E, Winkleman M (eds) Altering Consciousness, Volume 1: Multidisciplinary Perspectives: History, Culture, and the Humanities., Praeger Publishers and ABC-Clio, 2011

The Broadest Spectrum of Pluralities: Performance Studies, Theatre Practices, Theatre Histories, and Beyond, in The Rise of Performance Studies, London: Palgrave Macmillan, 2011, 177-190

"Dhanur Veda", in Jacobsen PDKA (eds) Brill's Encyclopedia of Hindiusm, E.J. Brill, 2010

Reviews

An enactive approach to understanding acting, Theatre Journal, vol. 59, no. 4, 2007, 635-647

Performances

Sweet...bitter...dry...plaintive Part of CORPO-REALITIES

Dance of the Drunken Monks.

‘The D Monologues‘ by Kaite O‘Reilly

The Beckett Project

The Beckett Project

TOLD BY THE WIND

Conferences

The actor‘s work on attention, awareness, and active imagination, The Annual Stanislavsky/Routledge Keyote Lecture at Rose Bruford, Rose Bruford School of Acting

Contemporary cross-cultural/intercultural performer training, Theatrum Incognitum: How Theatre Knowledge Exchange May Help (or Hinder) a Fast-Globalizing World, Cairo, Egypt

"Gender and Performance in an alternative production of Shakespeare‘s A MIDSUMMER NIGHT‘S DREAM", Gender and Performance in Shakespeare, Athens, Greece

Editorial comments

"Facts," Responsibilities, and Action(s), TDR, vol. 53, no. 1, MIT Press, 2009, 39-41

Journal articles

with Boyette P, Zarrilli PB, Psychophysical training, physical actions, and performing beckett: ‘Playing chess on three levels simultaneously‘, Contemporary Theatre Review, vol. 17, no. 1, 2007, 70-80

Three bodies of practice in a traditional South Indian martial art., Soc Sci Med, vol. 28, no. 12, 1989, 1289-1309