ABSTRACT
Playing 'The Maids' was a complex mixture of diverse artistic skills and cultural references devised by a group of international artists. This chapter deals with the issue of 'emotion' in the context of acting practice from an actor's perspective. It focuses on the implications of Dahnhak training and the traditional East Asian view on emotion based on the bodymind monism and the ki paradigm for the embodiment of emotion in contemporary acting practice. The chapter examines the issue of emotion in the context of acting practice, focusing on the angle of embodying a character's emotions. An actor's embodiment of emotion deals with a felt experience through substantial sensations and feelings tied to specific time and space before interpreted and compartmentalized with a generic name of an emotion such as love, hate, happiness, rage or han.
