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

150
from ritual to theater and back
Foreigners come to study at the Kalamandalam – there is even a teacher
who specializes in teaching these visitors. While I was there in 1976
about five westerners were studying. This training has not led to the
establishment of kathakali troupes outside India (though that may yet
happen) but rather the work is integrated into existing styles. It
remains to be seen how the presence of outsiders at the Kalamandalam,
and the frequent tours of the troupe, affect the work in Kerala.
The situation with Brook in Africa is different. The villagers were in
the midst of a religious ritual, a funeral, but they were also apparently
eager to trade songs and share their entertainments. That the exchange
was mutually moving is no surprise, ritual and entertainment coexist
easily; Barba’s barter work shows how willing people are to exchange.
Brook’s expeditions to India preparatory to his Mahabharata resulted in a
more ambivalent aftermath.
Touring ritual performances around the world – and thereby converting
them into entertainments – is nothing new. The Romans were
fond of importing exotics; and the records of many courts – nonwestern
as well as western – show the same imperial curiosity. Colonial
and/or conquering powers everywhere have done the same. Modern
times – from the period of the great international expositions and
circuses to our own day – transform this artiscratic privilege into a
commercial venture. The enterprise is often cloaked in the rhetoric of
respect. In 1972 at the Brooklyn Academy of Music the following show
took place (I quote from the program):
THE BROOKLYN ACADEMY OF MUSIC
in association with
Mel Howard Productions, Inc.
And
Ninon Tallon-Karlweis
in cooperation with
The Turkish Ministry of Tourism and Information
Present
THE WHIRLING DERVISHES OF TURKEY
(THE PROGRAM IS A RELIGIOUS CEREMONY.
YOU ARE KINDLY REQUESTED TO REFRAIN FROM APPLAUSE.)