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Performance Theory “Reading Performance Theory by Richard Schechner again, three decades after its first edition, is like meeting an old friend and finding out how much of him/her has been with you all along this way.” Augusto Boal “It is an indispensable text in all aspects of the new discipline of Performance Studies. It is in many ways an eye-opener particularly in its linkage of theater to other performance genres.” Ngũgĩ wa Thiong’o, University of California “Richard Schechner has defined the parameters of contemporary performance with an originality and insight that make him indispensable to contemporary theatrical thought. For many years, both scholars and artists have been inspired by his unique and powerful perspective.” Richard Foreman “Schechner has a place in every theater history textbook for his ground-breaking work in environmental theater in the 1960s and 1970s and for his vision in helping to found the discipline of performance studies.” Rebecca Schneider “Richard Schechner is the master teacher and the master conversant on the transformative power of performance to both performer and spectator, at its deepest level. Performance Theory is the essential book which brilliantly illuminates the world as a performance space on stage and off.” Anna Deveare Smith
A highlands Papua New Guinea man takes a break from dancing (see chapter 4, “From ritual to theater and back: the efficacy– entertainment braid”).
Page 4 and 5: Richard Schechner Performance Theor
Page 6: To my brothers William Arthur David
Page 10 and 11: PREFACE TO THE ROUTLEDGE CLASSICS E
Page 12 and 13: preface to the routledge classics e
Page 14 and 15: ACKNOWLEDGMENTS Performance Theory
Page 16: AUTHOR’S NOTE The differences bet
Page 19 and 20: xviii introduction: the fan and the
Page 22 and 23: 1 APPROACHES THE CAMBRIDGE ANTHROPO
Page 24 and 25: approaches 3 “Eniautos-Daimon,”
Page 26 and 27: dithyramb are doubtful; and the con
Page 28 and 29: approaches 7 Waiting for Godot, The
Page 30 and 31: approaches 9 KO can end the fight a
Page 32 and 33: approaches 11 Objects In everyday l
Page 34 and 35: approaches 13 adjustments are made
Page 36 and 37: approaches 15 play, games, sports,
Page 38 and 39: Figure 1.3 Self-assertive “I”:
Page 40 and 41: King Lear according to the techniqu
Page 42 and 43: 6 Webster, who supports the dithyra
Page 44 and 45: approaches 23 interest in “primit
Page 46 and 47: approaches 25 a ritual is a stereot
Page 48 and 49: actuals 27 harangue of about 20 min
Page 50 and 51: actuals 29 shape, rhythm and life-s
Page 52 and 53:
people thinks systematically in its
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
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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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are next year’s creditors, etc. T
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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
Page 391 and 392:
370 references (1996) The Natyasast
Page 393 and 394:
372 references Edwards, Christine (
Page 395 and 396:
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
Page 413 and 414:
392 index Gahuku people of Papua Ne
Page 415 and 416:
394 index Jonas 240 Jones, Amelia 3
Page 417 and 418:
396 index Mbuti people (equatorial
Page 419 and 420:
398 index parties 172 Partridge, Er
Page 421 and 422:
400 index primitive peoples 30-4, 3
Page 423 and 424:
402 index Rosenfeld, Andree 208 n.
Page 425 and 426:
404 index street theater 32, 48, 13
Page 427 and 428:
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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