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Plate 3.2 The Performance Group’s production of Sam Shepard’s The Tooth of Crime, showing from the private side the large structure dividing the performing space into “public” and “private” sides. (Photograph by Frederick Eberstadt)
80 drama, script, theater, and performance Plate 3.3 The Performance Group’s Tooth of Crime from the public side. (Photograph by Frederick Eberstadt) than 9 feet – than on the public side. The private side really had two playing areas: the large, octagonal bed near the backstairs, and the breakfast table on a foot-high platform near the front stairs. Also the Garage toilets, the entrance–exit to the theater, and extensive wall postering were on the private side. During the first months of using the environment, scenes were staged randomly – I just wanted to keep the audience moving. But as time went on this movement got simpler and more tied into thematics; ultimately most scenes found their “right place.” I use quotation marks because the division between “public” and “private” emerged slowly as separations occurred between spectators/performance and performers/theater. As I sensed a seam opening – and most of my work was intuitive, not analytic as it is presented here – I adjusted staging and environment to further advance what was already becoming explicit. By June, 1973, the following pattern was set:
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Performance Theory “Reading Perfo
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Richard Schechner Performance Theor
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To my brothers William Arthur David
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PREFACE TO THE ROUTLEDGE CLASSICS E
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preface to the routledge classics e
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ACKNOWLEDGMENTS Performance Theory
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AUTHOR’S NOTE The differences bet
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xviii introduction: the fan and the
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1 APPROACHES THE CAMBRIDGE ANTHROPO
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approaches 3 “Eniautos-Daimon,”
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dithyramb are doubtful; and the con
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approaches 7 Waiting for Godot, The
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approaches 9 KO can end the fight a
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approaches 11 Objects In everyday l
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approaches 13 adjustments are made
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approaches 15 play, games, sports,
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Figure 1.3 Self-assertive “I”:
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King Lear according to the techniqu
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6 Webster, who supports the dithyra
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approaches 23 interest in “primit
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approaches 25 a ritual is a stereot
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actuals 27 harangue of about 20 min
Page 50 and 51: actuals 29 shape, rhythm and life-s
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Page 54 and 55: actuals 33 new theater (and life-st
Page 56 and 57: actuals 35 The shaman is prized by
Page 58 and 59: actuals 37 Eliade does not define r
Page 60 and 61: actuals 39 The night before the eme
Page 62 and 63: actuals 41 into two, one for either
Page 64 and 65: actuals 43 Williams tells of many t
Page 66 and 67: actuals 45 comic overdevelops part
Page 68 and 69: actuals 47 hand, the associations t
Page 70 and 71: actuals 49 spectators wisecrack and
Page 72 and 73: actuals 51 half-dead mice. The floo
Page 74 and 75: actuals 53 the play has been runnin
Page 76 and 77: actuals 55 Initiation can be the ke
Page 78 and 79: actuals 57 ceremony. This ad hoc th
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Page 82 and 83: actuals 61 around seventy-five befo
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Page 98 and 99: seems to me that the reason someone
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are next year’s creditors, etc. T
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from ritual to theater and back 131
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Figure 4.5
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trip to central Asia and China. Acc
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ing into a special place a transcen
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ehavior (what I call “restored be
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toward a poetics of performance 171
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must be cautious when assuming an a
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Figure 5.5 The proscenium theater N
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spectators. In expanding our knowle
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6 SELECTIVE INATTENTION RELATIONSHI
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something big in itself but a “st
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Figure 6.2 selective inattention 21
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selective inattention 217 To return
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selective inattention 219 aesthetic
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Integral-Aesthetic Accidental-aesth
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selective inattention 223 those who
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selective inattention 225 they’re
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selective inattention 227 Schechner
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selective inattention 229 “myself
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selective inattention 231 construct
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selective inattention 233 star qual
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7 ETHOLOGY AND THEATER ANIMAL-HUMAN
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ethology and theater 237 or on over
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ethology and theater 239 This is th
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ethology and theater 241 when he be
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ethology and theater 243 all human
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to accompany performances or was ex
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ethology and theater 247 feelings
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ethology and theater 249 Wilson’s
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ethology and theater 251 the call c
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ethology and theater 253 agons of p
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ethology and theater 255 musical pe
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Hindsight discredits Hoffman as a p
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ethology and theater 259 the value
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ethology and theater 261 of evoluti
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ethology and theater 263 cave. As I
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Figure 7.3 ethology and theater 265
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ethology and theater 267 Papua New
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ethology and theater 269 with them
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ethology and theater 271 Among the
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ethology and theater 273 wealth; th
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ethology and theater 275 within”
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Torgindi had won the case, but that
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ethology and theater 279 dialogic a
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Figure 7.4 ethology and theater 281
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weapons. On March 20, 1968, Colonel
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ethology and theater 285 premises i
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shuns the actors who play Oedipus o
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ethology and theater 289 practice.
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magnitudes of performance 291 and s
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Days Months or more Election of pop
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magnitudes of performance 295 9 In
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magnitudes of performance 297 could
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magnitudes of performance 299 is co
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ewilderment in front of and for who
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magnitudes of performance 303 unles
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magnitudes of performance 305 ritua
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310 magnitudes of performance bodil
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312 magnitudes of performance must
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314 magnitudes of performance her/h
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316 magnitudes of performance confi
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318 magnitudes of performance BRAIN
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320 magnitudes of performance of er
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322 magnitudes of performance edite
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324 magnitudes of performance looki
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326 magnitudes of performance 7 Mac
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328 magnitudes of performance socie
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330 magnitudes of performance and m
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332 magnitudes of performance from
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334 rasaesthetics sharing of bodily
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336 rasaesthetics been, and remains
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338 rasaesthetics “say” (Shiple
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340 rasaesthetics favorite flavors
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342 rasaesthetics feelings, but wha
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344 rasaesthetics infused with inte
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346 rasaesthetics conducted by Mich
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348 rasaesthetics or preempt the br
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350 rasaesthetics breath and impetu
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352 rasaesthetics progression from
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354 rasaesthetics come to mind. A b
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356 rasaesthetics RASAESTHETICS IN
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358 rasaesthetics early performance
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360 rasaesthetics greed or killing.
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362 rasaesthetics is to move from o
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364 rasaesthetics with them, to ans
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366 rasaesthetics Experience Rasabo
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REFERENCES Aldena, Guillerno E. (19
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370 references (1996) The Natyasast
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372 references Edwards, Christine (
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374 references Goffman, Erving (195
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376 references Kaprow, Allan (1965)
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378 references B. Schaffner (ed.) T
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380 references (1973) Environmental
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382 references (1986) “The Afterm
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384 index 321-4, 351-5, 361-7. See
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386 index barong (Bali) 141 barter
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388 index communitas 128, 156. See
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390 index Dreamtime (Australian nat
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392 index Gahuku people of Papua Ne
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394 index Jonas 240 Jones, Amelia 3
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396 index Mbuti people (equatorial
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398 index parties 172 Partridge, Er
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400 index primitive peoples 30-4, 3
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402 index Rosenfeld, Andree 208 n.
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404 index street theater 32, 48, 13
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406 index programs 275; effects 12-
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4 from ritual to theater and back: the efficacy ... - AAAARG.ORG

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