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

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300<br />

magnitudes of performance<br />

participants. In o<strong>the</strong>r words, manifold driving techniques accommodate<br />

individual differences in experience <strong>and</strong> genetic makeup.<br />

However, any complete interpretation of <strong>ritual</strong> trance also recognizes<br />

<strong>the</strong> symbolic qualities of human behavior.<br />

(Lex 1979: 144–5)<br />

These differences are not just exercises in <strong>the</strong> “emic-etic”* pitfalls of<br />

field work. The great big gap between what a performance is <strong>to</strong> people<br />

inside <strong>and</strong> what it is <strong>to</strong> people outside conditions all <strong>the</strong> thinking about<br />

performance. These differences can be as great within a single culture<br />

as <strong>the</strong>y are across cultural boundaries. In fact, in my own experience,<br />

performers <strong>from</strong> different cultures are more likely <strong>to</strong> underst<strong>and</strong> each<br />

o<strong>the</strong>r – <strong>and</strong> be able <strong>to</strong> exchange techniques, anecdotes, information –<br />

than <strong>the</strong>y can underst<strong>and</strong>, <strong>and</strong> be unders<strong>to</strong>od, by people within <strong>the</strong>ir<br />

own culture who have not <strong>the</strong>mselves ei<strong>the</strong>r been performers or gone<br />

out of <strong>the</strong>ir way <strong>to</strong> underst<strong>and</strong> what performers experience. Performance<br />

experience – unlike eating, housing, speaking/listening, etc. – is<br />

something <strong>the</strong> outsider has <strong>to</strong> specifically go out of her/his way <strong>to</strong> get<br />

<strong>from</strong> <strong>the</strong> inside. This curiosity concerning experience prompted<br />

Turner <strong>to</strong> experiment with “performing ethnography.” 5<br />

The situation of <strong>the</strong> “professional performer” – a person who reflexively<br />

masters <strong>the</strong> techniques of performance (whe<strong>the</strong>r or not s/he gets<br />

paid for it) – is very different <strong>from</strong> <strong>the</strong> “Goffman performer” who is<br />

likely <strong>to</strong> be unaware of her/his own performance. 6 The <strong>the</strong>orist in<br />

Goffman’s world is always an outsider because <strong>the</strong> <strong>the</strong>orist exposes<br />

precisely what <strong>the</strong> Goffman performer conceals or is unaware of: <strong>the</strong><br />

very fact that s/he is performing. There are actually two kinds of Goffman<br />

performer: <strong>the</strong> ones who conceal, as conmen do; <strong>and</strong> <strong>the</strong> ones<br />

who don’t know <strong>the</strong>y are performing. Of this second type <strong>the</strong>re are two<br />

subdivisions: ordinary people playing <strong>the</strong>ir “life roles” as waitresses,<br />

doc<strong>to</strong>rs, teachers, street people, etc. And those whose particular actions<br />

have been framed as a performance in documentary film, shows like<br />

C<strong>and</strong>id Camera, or on <strong>the</strong> 6 o’clock TV news. The woman whose<br />

children have perished in a fire in Brooklyn pours out her grief <strong>and</strong><br />

* Emic <strong>and</strong> etic are anthropological terms often used <strong>to</strong>ge<strong>the</strong>r, meaning, respectively,<br />

“<strong>to</strong> experience a culture <strong>from</strong> <strong>the</strong> inside”; “<strong>to</strong> experience a culture <strong>from</strong> <strong>the</strong> outside.”

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