Various branches of contemporary art, especially approaches such as body-centered theaters, performance art, body art, environmental art, and interactive art, in which the body of the actor/performer is considered the main element of the template and platform of the process of creating events, are so wide and diverse that defining The border between them is a very difficult task; To deal with the hidden strains of the concept of space and also considering the increasing importance of interdisciplinary approaches, phenomenology can be used as a methodological approach to understand space and confront actors with the phenomenal space in body-centered scenes. This article tries to answer the question of how phenomenology formulates the relationship between actors and space in body-centered theaters using the phenomenological method and library and internet resources. Considering that the concept of space has been used in many disciplines and since the phenomenological approach is visible in these disciplines, in this article we intend to examine the concept of space in body-oriented theaters with such an approach. Based on the phenomenological approach, the space-making exercises and the actor’s encounter with the space in body-centered theaters describe the spatial qualities and bodily perceptions of the actors especially and specially, which are interwoven with each other. In other words, it is not possible to examine and explain the training process and the events obtained in the training process in an environment separate from the surrounding world of the performers and the training place. As a result, the “lived experience” of the performers beyond the scope of discretion and wise understanding is taken into consideration in accordance with the embodied understanding of the performers and their multiple and multifaceted feelings in relation to the “phenomenal space” and the atmosphere formed around them in the training environment.
In recent years, interdisciplinary studies have played a significant role in developing advanced theories of theater and have led to the formation of new and diverse topics in theater studies. Therefore, the role of interdisciplinary studies in the formulation and formation of new theater performance theories is undeniable. One of the most important topics that has been the focus of researchers, theoreticians, and prominent artists in the field of theater performance to expand the scope of performing arts as much as possible, is the use of philosophical approaches and theories, especially the “phenomenology of theater” approach. The “phenomenology of theater” approach emphasizes the “physical presence” of the actor in the rehearsal space/environment. Body-centered performances are directly related to the cultural and communicative relations of contemporary humans, who increasingly desire to become physical. This can be seen in the amount of time that contemporary people spend watching sports. On the other hand, the praise of physical beauty in the instrumental use of it in commercial advertisements, cosmetic surgery, movies uploaded on the Internet, and countless other cases of this kind shows that the contemporary human being is very fascinated by his body and physical actions.