The paper deals with the microphenomenological interview as a method for investigating the subjective experience of the (theatre) actor in the process of the formation of the dramatic figure and stage speech. The analysis of an interview with a selected theatre actress sheds light on the process of establishing a connection with the text through aural, kinaesthetic and emotional perceptions. The central focus of the research is the study of the (in)organicity of speech and the influence of sound images on the interpretation of the text, which has direct implications for contemporary lectorial practice in the theatre. The research contributes to the theoretical and practical grounding of an actor-lecturer approach that goes beyond the conventional assurance of linguistic correctness and includes the search for connections between language, body and emotions. The results confirm that the actor’s subjective experience of certain lines as “inorganic” suggests the need for an expanded role of the language consultant, which goes beyond technical advice to include the coordination of speech performance with the actor’s bodily and emotional processes. Such an approach allows for a deeper connection between the (theatre) actor and the text, and contributes to a greater authenticity of the stage play. The microphenomenological interview proves to be an effective tool for exploring the pre-reflective aspects of the creative process, as it allows for a systematic analysis of individual perceptions and experiences. The findings of the research are applicable both in the context of lectorial practice in the theatre, and in the broader context of acting pedagogy, directing, and methodological approaches to research on speech and language interpretation in the performing arts.
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