4 from ritual to theater and back: the efficacy ... - AAAARG.ORG

from ritual to theater and back 141
Plate 4.2 Dancers at the village of Kenetisarobe. (Photograph by Richard
Schechner)
self-awareness or reflexivity, Asuwe Yamuruhu did with a keen sense of
theater business.
Examples of the same kind of thing abound. In Bali tourist versions
of barong and ketchak are everywhere. Along the Denpasar-to-Ubud
road signs advertising these performances are as frequent as movie
marquees in America. Signs, often in English, say such things as:
“Traditional Ketchak – Holy Monkey Dance Theater – Tonight at 8,”
or “Barong – Each Wednesday at 8 on the Temple Steps.” The Balinese,
with characteristic sophistication, make separate shows for
tourists while keeping “for Balinese only” shows more or less secret
– or, more importantly, far from the main road. Tourists want to
drive to their entertainments; they want a dependable schedule; they
want a way to leave early conveniently if they are bored. Most
authentic performances – of ketchak or of “for Balinese only” – are
accessible by foot through somewhat thick jungle. Often foreigners