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toward a poetics of performance 179 a roughly similar thing happened countless times on the hunting circuits of Paleolithic humans. Out of these hunting circuits developed ritual circuits, meeting places, ceremonial centers, and theaters. Everywhere theater occurs at special times in special places. Theater is but one of a complex of performance activities which also includes rituals, sport and trials (duels, ritual combats, courtroom trials), dance, music, play, and various performances in everyday life (see chapter 1). Theater places are maps of the cultures where they exist. That is, theater is analogical not only in the literary sense – the stories dramas tell, the convention of explicating action by staging it – but also in the architectonic sense. Thus, for example, the Athenian theater of the fifth century bce had as its center the altar of Dionysus. When the chorus danced around the altar it was located between the audience and the men who played the dramatic roles. The Greek theater’s semicircular tiers of seats – not individuated as in modern theaters but curving communal benches as in modern sports stadiums – literally enfolded the drama, containing its agons within the Athenian solidarity (see figure 5.4). Conceptually this pattern of solidarity-containing-agon was repeated in the contest among the poets and actors for the best play and best performance. The proscenium theater of the eighteenth to twentieth centuries in the west also shows a definite, but very different, sociometric design (figure 5.5). The Greek amphitheater was open. Beyond and around it the city could be seen during performances which took place in daylight. It was the city, the polis, that was tightly boundaried geographically and ideologically. On the other hand, the proscenium theater is a tightly boundaried, closed individual building with access from the street strictly controlled. Within the part of the structure where the performance takes place and is viewed much effort is spent in directing attention only to the stage; everything not in the show is hidden or sunk in darkness. The building, like the events within it, is compartmentalized; the time for the audience to look at each other is regulated and is limited to before the show and to intermissions. The proscenium theater is divided into five precincts (see figure 5.5). Theater workers enter through a backstage door unseen by the ticket-buying patrons. This is a version of the industrial practice of separating the factory where goods are produced from the store where
Figure 5.4 The Athenian theater Note Nested at the center of the Athenian theater was the open eye of the Altar of Dionysus. Around it danced the Chorus, giving a core of solidarity for the agonistic actions of the actors. The audience nested both Chorus and actors. But the agon of the contest among poets and actors for the prizes surrounded the whole theatrical event. Yet the solidarity of Athens, the polis, provided the ultimate nest for the entire sequence of performances and contests. Each agon was literally held in a nest of solidarity. The outer nest – the polis – was not metaphorical: there were definite geographical, ideological, and social limits to Athens; and each person knew what it was to be a citizen. The shape of the theater was a version of the social system which alternated agon and solidarity; it was open to debate and interrogation, but closed about who was or was not a member, a citizen.
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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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drama, script, theater, and perform
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Figure 3.1
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seems to me that the reason someone
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Plate 3.2 The Performance Group’s
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metaphorically. The metabolisms of
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from ritual to theater and back 113
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comprised, the small cycle of perfo
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Page 150 and 151: are next year’s creditors, etc. T
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Page 154 and 155: Figure 4.5
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Page 236 and 237: Figure 6.2 selective inattention 21
Page 238 and 239: selective inattention 217 To return
Page 240 and 241: selective inattention 219 aesthetic
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Page 248 and 249: 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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