This is an empirical phenomenological interview study into the experiences of professional actors as they create and perform roles for the stage. Prior research was inadequate for capturing actors’ changing life worlds over time. Analyzing the interviews using the descriptive phenomenological method yielded general structural descriptions and pointed to the relevance of Schütz’s description of multiple realities. Being cast in a role changes the pace and goals of actors’ everyday worlds and leads the actors intermittently and with intention to enter other realities—fictional, theoretical, and/or pictorial. A province unique to acting is the drama world in which the actors live incarnate as their characters. The drama world is infused pre-reflectively with discoveries from other provinces of meaning, unfolds spontaneously, and, in performance, has the audience as horizon. The drama world and the experiences that give rise to it provide new material for comparative phenomenological analysis of various forms of imagining.
Simonton (2007) offered evidence for his Darwinian theory of creativity-blind nonmonotonic variation and selection-based on ratings of Picasso's preliminary sketches of the components for Guernica. This comment reexamines the sketches, adding two major sources of information: (a) consideration of the changing conceptions of the composition, as well as the components, and (b) inclusion of sketches from Picasso's first vision for his mural, the Studio sketches. Such analysis supports the notion of nonmonotonic variation including backtracking. It also suggests that the final mural, although radically different in its components from the Studio sketches, drew on the composition and theme of that initial vision for the mural, but in a completely reimagined form when a chance event pulled Picasso's thinking in a new direction. This comment also describes how Picasso drew on his expertise throughout his explorations, that lack of knowledge of outcome does not diminish the role of expertise in the artist at work. The terms Darwinian and blind mask this and other features of the creative process, and an alternate vocabulary is suggested.
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