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In hierdie konseptuele artikel word die waarde van literêre teater in die bewussynsopvoeding van psigoterapiestudente as beginnerterapeute toegelig. 'n Eerste uitgangspunt van die artikel is bewussynsopvoeding om die ontologiese ingesteldheid as singewende intensionaliteit te kultiveer wat gekenmerk word deur synsdenke en sensitiwiteit vir die gelyktydige teenstry-dighede eie aan die menslike bestaansproblematiek. Teen hierdie agtergrond word die betekenisvolheid van bewussynsopvoeding as geestelike ideaal of Bildung-strewe beskryf, eerder as die performatiewe ideaal van nuwe kennis gerig deur 'n gespesifiseerde doel. Twee moontlike eietydse dilemmas wat psigoterapiestudente se ontwikkelende vermoë tot bewus-synsmatige betrokkenheid soms bemoeilik, word terselfdertyd belig. Dit sluit in begin-nerpsigoterapeute se oormatige selfbewustheid en sentimentele emosionaliteit, asook die tegnokratiese aard van massasielkunde. In die daaropvolgende afdelings verduidelik ons aan die hand van enkele eksemplariese onderrigvoorbeelde hoe literêre teater vanweë die inherente beliggaming van die eksistensieel-fenomenologiese karakter daarvan moontlik kan bydra tot die verskerping en inoefening van psigoterapiestudente se vermoë tot groter bewussynsmatig-heid. The capacity to comprehend experiences in a coherent way and attribute meaning to existence is unique to human beings. Through Dasein, being consciously concerned with the onto-phenomenological experience, thus interpreting what it means to exist amid that which is and is still becoming, human beings strive to connect with their Lebenswelt (a lived world). Only when individuals are consciously receptive to and involved in their own ontological being and becoming can they empathise with the very nature of another. Woven into this larger disposition characterised by continuous onto-phenomenological self-making-in-a-situation (Bildung) -the Nietzschean call - is the empathic attitude. In the context of psychology, in particular psychotherapy, the empathic attitude - that is, being sensitively aware of how we understand ourselves, others and the world we share - is undeniably part of the repertoire of qualities that a therapist ought to possess. Often, however, the attitude of novice therapists towards what is happening between them and their clients here and now involves inflated self-awareness that is devoid of ontological considerations. Frequently, this results in a clichéd form of empathy based primarily on sentimental emotionality. It seems to be true that, in a ubiquitous cyberculture characterised by self-absorption and the mere accumulation of simplistic explanations, the ability to be ontologically receptive - as the sine qua non of an empathetic attitude - is gradually becoming undervalued. Art, in particular literary theatre, has the capacity to push psychotherapy students (as spectators) to the edge of what it means to be human beings; by implication, therefore, it constitutes an appeal for existential phenomenological involvement. Suddenly the spectators cannot escape the incantatory circle ofwhat is affectively transcendent and become participants in their own self-developmental needs and psychological yearnings. This article seeks to illustrate how the existential phenomenological elements of literary theatre, including physicality (language, movement, actions and sound), time and spatiality, can be used to comprehend an embodied involvement (being with the client, here, now) and encourage ontological reflection in psychotherapy students. In this regard, literary theatre displays certain existential phenomenological characteristics that can be understood and applied as part of a pedagogical enterprise in psychotherapy teaching and training. Some core characteristics include inner stillness, a sensitive-receptive attitude, and an awareness of Jungian or depth-psychology archetypes. Of importance is therefore the existential phenomenological attitude of the psychotherapy student towards a child's being (onto-involvement) in the therapy room or clinical evaluation situation. By way of a conceptual explication, we attempt to provide an understanding of the relationship between the psychological function of literary theatre and the existential phenomenological attitude of the educational psychology student. This attitude embodies a certain artistry or aesthetic disposition, characterised by qualities such as honed intuition, sensitive awareness and the formation of nuanced connections. Such artistry allows the psychotherapy student to explore the developmentally and contextually layered client, and to articulate den Zachen Zelbst meaningfully by way of contemplative, nuanced thought and language. Den Zachen Zelbst, ingrained in the Husserlian and Heideggerian vernacular of philosophy of phenomenology, refers to existence as intentional; to be consciously concerned with the meaning of being, therefore life-world experience, as opposed to merely registering and measuring impressions from the outside world. An existential phenomenological disposition cannot be assumed, however, nor can it be simply taught as part of a postgraduate module on psychotherapy skills. Instead, the existential phenomenological disposition ought to be fostered and developed through carefully crafted embodiment activities of an intersectional nature (the intersection of philosophy, psychology, literature and drama, for example) as part of the teaching and training of psychotherapy students. This article attempts to cast light on the existential phenomenological disposition as an essential attitude of the psychotherapy student, especially in the context of an often unmindful, mechanistic and utilitarian society. At its core, the existential-phenomenological attitude presupposes a more embodied (as opposed to essentialist) psychotherapy, characterised by ontological awareness, deepening insight and symbolic language. These intellectual qualities need to be protected at all costs from the technocratic materialism of mass psychology.