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from ritual to theater and back 117 examples can be found in Asia, native America, medieval Europe, Africa, and some western experimental performances – offer, I think, the best model for the future of the theater. Much performing among tribal peoples is, like the kaiko, part of the society’s overall ecology. The engwura cycle of the Arunta as described by Spencer and Gillen (1899, repr. 1968) in the late nineteenth century 4 is an elegant example of how a complicated series of performances both expressed and participated in a people’s ecology. The fact that the engwura is no longer performed – that the Arunta, culturally speaking, have been exterminated – indicates the incompatibility of the wholeness I am talking about and western culture as it is presently constituted. In so far as performing groups adapt techniques from the kaiko or engwura they are bound to remain outside the western “mainstream.” But the chief function of the avant-grade is to propose models for change: to be “in advance.” The engwura was an initiation cycle that spanned several years; the last phase consisted of performances staged sporadically over a 3–4-month period. Each phase of the engwura took place only when several conditions meshed: enough young men of a certain age gathered in one place ready to be initiated; enough older men willing to lead the ceremonies (particularly decisive in an oral culture); enough food to support the celebration. Then the sacred implements and grounds were prepared painstakingly according to tradition. Finally, there had to be peace among neighboring tribes – sometimes the announcement of an impending engwura was enough to settle a peace. The engwura’s daily rhythm recapitulated its monthly rhythm: performance spaces were cleared, implements repaired and laid out, body decorations applied, food cooked and eaten. Each performance day saw not one but several performances, with rest and preparations between each. Each performance lasted an average of ten minutes, and was characteristically a dance accompanied by drumming and chanting. After finishing a performance, the performers rested for about two hours; then preparations for the next performance began, and these preparations took about two hours. The day followed a rising and falling rhythm (figure 4.1). 5 The whole performance cycle constituted and recapitulated the major events in the life-cycle of Arunta males. Individual events were nested within, even as they as a series
Figure 4.1
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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
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actuals 29 shape, rhythm and life-s
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people thinks systematically in its
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actuals 33 new theater (and life-st
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actuals 35 The shaman is prized by
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actuals 37 Eliade does not define r
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actuals 39 The night before the eme
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actuals 41 into two, one for either
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actuals 43 Williams tells of many t
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actuals 45 comic overdevelops part
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actuals 47 hand, the associations t
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actuals 49 spectators wisecrack and
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actuals 51 half-dead mice. The floo
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actuals 53 the play has been runnin
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actuals 55 Initiation can be the ke
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actuals 57 ceremony. This ad hoc th
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actuals 59 We are almost unique in
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actuals 61 around seventy-five befo
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a performance condition the perform
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actuals 65 manuscript scenario whic
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Page 98 and 99: seems to me that the reason someone
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Page 126 and 127: metaphorically. The metabolisms of
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Page 166 and 167: trip to central Asia and China. Acc
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from ritual to theater and back 167
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from ritual to theater and back 169
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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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