Based on video-recordings of several weeks of rehearsals of a Japanese theater piece played by French actors, and adopting an ethnomethodological and conversation analytic perspective, this paper focuses on how the same few lines of a scene are subsequently enacted. In particular, it explores how the scene is played, not only in relation to the script but also to the situated moment-by-moment unfolding of embodied movements constituting the actions and achieving their detailed formatting and meaning. Whereas the dialogue refers to (...) the scripted text, we argue that the multimodal details of each scene constitute a unique situated course of action achieved for ‘another first time,’ whose multimodal configuration depends on the temporality and the shape of each step, gesture, and body posture, as they are embodied and responded to in the vivid present and its contingencies. We demonstrate this by revealing how variations of the scene are performed, explored, and serendipitously found by the actors. We focus in particular on embodied details like walking, sitting, hugging and kissing, and the sequential and temporal positions at which they co-occur with the lines of the script. The analysis demonstrates both the indexicality of the script interpretations and the creative contingencies of the embodied work of the actors. In this way, it aims at contributing to current growing literature revisiting theater rehearsal as a situated activity and an interactional multimodal achievement. (shrink)

This article provides arguments to show that there is a form of syntax specific to the bodily movements of certain martial arts. This syntax of bodily mouvements is different from that usually identified in multimodal conversational analysis which consists of the addition of bodily extensions to speech turns Keevallik (Res Lang Soc Interact 46(1):1–21, 2013) and (Res Lang Soc Interact 51(1):1–21, 2018). Based on an analysis of video extracts from two martial arts (Aikido and Kenpo), the article shows that martial (...) arts movements, accomplished within a martial intercorporeality, acquire syntactic characteristics that make it possible to anticipate trajectories accomplished simultaneously, before and during body contact. The article presents the four movement-units common to these two martial arts and the way participants combine them, in a sequentiality of simultaneity. (shrink)