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Days Months or more Election of pope Some initiations Single time: once only Execution Theater on Chekhov Street Repeated Multitime: segmented Election of pope Some Tehching happenings Hsieh’s “Year-long” performances5 Bar mitzvah Some happenings Ramlila; Orokolo Yaqui Easter cycle6 Some happenings Olympics TV soaps Boxing title match Election of pope; Aborigine ceremonies Wilson’s Ka Mtn 7 Wilson’s Ka Mtn Murder trial Murder trial Wilson’s Ka Mtn Ordinary theater & dance Feature films Yaqui Easter; Ramlila Pilgrimage Bar mitzvah Yaqui Easter; Ramlila Hostage crisis Brook’s theater in Africa 8 Orokolo cycle; pilgrimage Tehching Hsieh’s “Year-long” performances Orokolo cycle; pilgrimage; Tehching Hsieh’s “Year-long” performances Wilson’s Ka Mtn; hostage crisis Many happenings & performance art Some happenings Some happenings Some happenings Murder trial Boxing title match Olympics; Yaqui Easter; Ramlila Orokolo cycle; hostage crisis Hostage crisis Ordinary theater & dance Ordinary theater & dance Ordinary theater & dance Elizabethan theater Ordinary theater & dance Yaqui Easter; Ramlila Calendrical cycle Event-generated time Some Election of Aborigine performances pope Puja at Hindu temple Macy’s Parade; Ramlila Olympics World Series; Olympics World Series; Olympics Aborigine ceremonies Yaqui Easter; Ramlila Yaqui Easter; Ramlila World Series; Olympics Macy’s Parade; Aborigine ceremonies Yaqui Easter; Ramlila Murder trial Church services; folk Bugaku 9 Yaqui Easter; Ramlila Yaqui Easter; Ramlila Symbolic time Theater on Chekhov Street Some Some happenings; happenings sandlot baseball Big league ball World Series Ordinary theater & dance Feature films Yaqui Easter; Ramlila Baseball Ordinary theater & dance Sandlot baseball World Series Indoor sports Murder trial Folk Bugaku Indoor sports Yaqui Easter; Ramlila Yaqui Easter; Ramlila Schechner’s Philoctetes on beach 10 Ordinary theater & Dance Ordinary theater & dance Baseball Elizabethan theater World Series Ordinary theater & dance Yaqui Easter; Ramlila
294 magnitudes of performance Notes The chart lists examples anecdotally. That is, many more examples could be given for almost every category. What the chart shows is the great diversity of performative events in terms of genre and use of time and space; and it shows the interrelatedness of events–time–space. The chart can be read as a grid. For example, a Ph.D. oral examination is an example of private but open secular ritual; a town meeting held in a church is an example of a secular ritual taking place in a sacred space; the Macy’s Thanksgiving Day Parade is a calendrical/cyclical event taking place in found space. And so on. All items can be located according to three axes: event, time, space. Not all items are so explained, but they can be. And some items, obviously, occur in more than one category. So, Ramlila is multitime: segmented plus calendrical/cycle plus symbolic time plus days in duration. But Ramlila is not so easy to locate in terms of whether or not it is aesthetic theater or sacred ritual or social drama: it is all of these, and at some moments more one than the others. Thus the chart’s weakness: it categorizes whereas many performances transform from one category to another, or slip across categorical boundaries. Still I have found making the chart helpful in organizing my thinking about performance; and I hope that it will be of use to others. 1 The Theater on Chekhov Street is one of several in Moscow operating privately outside the control of censorship. A description of it, and other private performances, is found in Law (1979). Private restricted performances are common in places where public free expression is limited; it is also the mark of certain kinds of ritual that can be attended by certain people only. 2 Fieldhouses, as the name suggests, are indoor spaces that attempt to bring the outdoors inside. Even more out front in this intention are domed stadiums whose astroturf looks like grass. 3 The Tiwi settle certain disputes by using a ritual duel staged in the main village square. The duel is described by Hart and Pilling (1966). Using their account, I discuss the Tiwi duel in chapter 2. The Tiwi duel is a near perfect example of Victor Turner’s “social drama.” 4 Stuart Sherman stages “spectacles” on street corners, in theater lobbies, in various other places not usually thought of as performance spaces. His spectacles are theatrically modest: a small table, an assembly of props all of which can fit in an attaché case, no dialog; a total elapsed time of under thirty minutes. As he became more successful, Sherman began to work inside theaters, on stage, in more orthodox ways. 5 Tehching (formerly Sam) Hsieh is a performance artist who specializes in “one-year performances.” According to Barry Kahn: “On 30 September 1978, Sam Hsieh began a year of solitary confinement inside an 11'−6'' × 9' × 8' cell which he built within his studio. ‘I shall not converse, read, write, listen to the radio or watch television until I unseal myself.’ A friend, Cheng Wei Kwang, took charge of his food, clothing, and waste. At 5.00 p.m. on 11 April 1980, Sam Hsieh punched in on a standard industrial time clock he had installed in his studio, an act which he repeated every hour on the hour until 6.00 p.m. on 11 April 1981. And on Saturday 26 September 1981, Sam Hsieh began his third one year performance: ‘I shall stay outdoors for one year, never go inside. I shall not go in to [sic] a building, subway, train, car, airplane, ship, cave, tent. I shall have a sleeping bag,’ his statement said” (1982: 41). From July 4, 1983 until July 4, 1984 Hsieh was attached to performance artist Linda Montano by an eight-foot rope. Their joint statement read in part: “We will stay together for one year and never be alone. . . . We will be tied together at the waist with an eight-foot rope. We will never touch each other during the year.” During his year-long performances Hsieh schedules certain times when the public can view him. 6 The Orokolo of Papua New Guinea used to perform a cycle play that took years to complete. It is described by Williams (1940); and also discussed by me in chapter 2. Extended performances – or connected cycles of performances – are not uncommon. A sports season can be thought of as a cycle of performances. Major League baseball is certainly this way – with several high points: opening games, All Star Games, “important series” near the end of the season, “traditional rivalries,” playoffs, and World Series. 7 Robert Wilson staged this seven-day performance as part of the Shiraz Festival in 1972. It involved 50 persons and took 168 hours. It was staged on a mountain and took the form of a kind of ascent or pilgrimage. Ka Mountain is described by Trilling (1973: 33–47) and Langton (1973: 48–57). 8 From December, 1972 through February, 1973, Peter Brook and thirty actors, technicians, and support persons traveled by Landrover through Africa from Algiers, across the Sahara, into Niger, Nigeria, Dahomey, Mali, and back to Algiers. During their trip they staged improvisations, exchanged theatrical items (songs, dances, skits, techniques, etc.) with Africans, and showed their own work. They played in many different situations. A uniting, and signaling, item was their “performance carpet.” “We got out [of our vehicles],” said Brook, “unrolled our carpet, sat down, and an audience assembled in no time. And there was something incredibly moving – because it was the total unknown, we didn’t know what could be communicated, what couldn’t. All we discovered after was that nothing had ever happened resembling this before on the market [at In-Salah, in Algeria]. Never had there been a strolling player or some little improvisation. There was no precedent for it. There was a feeling of simple and total attentiveness, total response and lightning appreciation, something that, perhaps in a second, changed every actor’s sense of what a relation with an audience could be” (Gibson 1973: 37–51).
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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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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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Page 355 and 356: 334 rasaesthetics sharing of bodily
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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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