http://repository.lib.vpa.ac.lk/handle/123456789/35 Tue, 21 Apr 2026 12:40:49 GMT 2026-04-21T12:40:49Z http://repository.lib.vpa.ac.lk/handle/123456789/1826 “Lamp in a Windless Place”: Developing an Actor Training Methodology through Sri Lankan Combative Art Form Angampora An Introduction Liyanage, Saumya; Hillary, Natasha; Hemachandra, Samal Vimukthi Fri, 01 Jan 2021 00:00:00 GMT http://repository.lib.vpa.ac.lk/handle/123456789/1826 2021-01-01T00:00:00Z http://repository.lib.vpa.ac.lk/handle/123456789/299 What Stanislavski Tells Us about Acting Liyanage, Saumya Attached. Sun, 01 Dec 2013 00:00:00 GMT http://repository.lib.vpa.ac.lk/handle/123456789/299 2013-12-01T00:00:00Z http://repository.lib.vpa.ac.lk/handle/123456789/286 Revival or Survival : Colonising Bodies in Folk Dance Liyanage, Saumya Attached. Sun, 01 Jan 2017 00:00:00 GMT http://repository.lib.vpa.ac.lk/handle/123456789/286 2017-01-01T00:00:00Z http://repository.lib.vpa.ac.lk/handle/123456789/285 Phenomenology of An Actor's Work in Filmic Performance Liyanage, Saumya Modernist approaches to acting practice has always been fascinated by the ways that the actor’s work in live theatre as well as on screen is understood, interpreted and further appreciated as a representation of meanings. The actor’s body is thus a tool or a communicative device via which the author’s ideas, conceptions, and thoughts are brought forward. This paper questions this representational ways of understanding acting in filmic performance and suggests an anti-representational modes of perceiving the actor’s work via phenomenological reading. Influenced by Melreau-Ponty’s phenomenology and its contemporary developments in cognitive sciences, this paper further proposes an enactive way to understand the actor’s art, while bringing the actor’s experience to the centre of the discussion. In order to do so, I shall introduces four ontological categories of the lived body via which, I will explore how the film actor’s performance can be seen as a lived temporality, spatiality, and intersubjectivity within filmic performance. Building upon such phenomenological interpretation of the body, I further elaborate one of the leading film actors’ works in Sri Lanka and argue how these phenomenalities of film acting can be applied to understand non-representation ways of enacting and perceiving acting. Full article attached. Fri, 01 Aug 2014 00:00:00 GMT http://repository.lib.vpa.ac.lk/handle/123456789/285 2014-08-01T00:00:00Z