Abstract
The article is based on empirical research with undergraduate acting students, investigating the embodiment of emotion and its application during rehearsal and performance of Canadian playwright Ned Dickens' Oedipus in spring 2009. The actors train specific emotional states within an affective framework as laid out in Richard Schechner's rasabox exercise. The investigation opens up questions regarding acting technique, the role of the chorus and catharsis in contemporary tragedy, and the intricacies of staging Jocasta's suicide. Situated within a re-emerging field of affective studies in performance, this investigation is concerned with a technique that trains repeated access to performable emotions.
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