This thesis approaches the work of directing through the idea that as a human being the director primarily becomes real through bodily existence in the world. According to this study there is a big need for working through what the term bodily existence in the field of performing arts means because at the present life the trend to see the human body as an instrument is dominant. This work points out that an instrumental viewpoint to the human body sets the person apart from the bodily presence and at the same time from the relevance of the world. 

The work reviews the contacts between the bodily existence and empathy. According to this study, the directing work contains interaction which is based on empathy. The focus in the study is also the silent non-aimed knowledge embodied in the bodily presence as well as the holistic balance of the human body both of which are important items when understanding the bodily presence.   The work is based on interviews. The interviewees have on their own areas been working with the bodily presence and the directing through their professions. Also literary sources which touch upon the holistic approach of the idea of a human being are used as a background material.   According to the conclusions of this study, opening the meaningfulness of the world and making the world relevant are of primary importance in performing arts. The bodily presence has a central position when understanding the significance of the world.