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age, for example, or Bound, Strong fear. With its categories of Body, Space, Shape, Effort, and Relationship, Laban Movement Analysis provides the tools to take the performer beyond her “patterns,” expanding the field of expressive possibility. The possibilities are endless. As Bharata says in the Natyasastra: “It is impossible [. . .] to know all about natya since there is no limit to bhava-s (emotions) and no end to the arts involved [in natya]. It is not possible to have a thorough knowledge of even one of them, leave alone so many of them” (Bharata-muni 1996: 53). It is with this spirit that I enter, and ask others to enter and reenter the Rasaboxes, always knowing there are new worlds to be discovered there. NOTES rasaesthetics 365 a Rebecca Ortese worked with me for six months on developing the Rasaboxes as a rehearsal tool during the 1999 Mabou Mines Resident Artist Program. b This idea was introduced to me by Martha Eddy, a Body–Mind Centering practitioner and teacher. Somatic refers to soma, or cell, which, according to this way of thinking, contains its own wisdom. This approach to the body’s wisdom or knowledge is a wonderful way to approach the Rasaboxes, where the different parts of our bodies are in constant dialogue with one another as we search for ways to physically contain and express emotion.
366 rasaesthetics Experience Rasaboxes Paula Murray Cole I’d like to describe what it feels like to experience the rasas as we explore them in the Rasaboxes exercise and apply them in our rehearsals and performances. First, however, let me help you to understand what a rasa experience feels like by relating something that recently happened to me. Not long ago, I spent a week and a half studying the therapeutic uses of essential oils. As part of an introductory exercise, our class was asked to experience and respond to the smell and effects of various oils; to notice what parts of our bodies were most affected by each oil; what memories, images, or associations were evoked; and to guess each oil’s therapeutic uses. During the exercise, I observed the expressions on the faces and bodies of my classmates as they related to each oil. I noticed that their responses were immediate and extremely physical. Robert took a whiff of German chamomile, a heavy dark blue oil, and was instantly, violently repulsed. His body jolted and jumped backward, his face contorted with disgust. “Auggghhhkk,” he exhaled as he spat. He quickly replaced the cap on the bottle and put it far from his body. Steve uncapped the rosemary and his body and face widened, his spine lengthened, his breathing became large and even. “Wow,” he said, and he reported that he felt stimulated, powerful, energized. We took turns smelling the substances. After about five minutes, the oils’ essences were not only contained inside each bottle, but had diffused throughout the room, transfusing into our bodies and affecting our psychophysiology. So it is with rasa. Rasa means “essence,” and that essence has the power to move us, to transform and shape our responses. It comes from outside our bodies, is smelled, tasted, ingested. Its particular properties change us, transform our chemistry and shape our psychophysical expressive behavior. In 1999, I played Ofelia in the East Coast Artists’ production of (continued)
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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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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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Page 355 and 356: 334 rasaesthetics sharing of bodily
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Page 379 and 380: 358 rasaesthetics early performance
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Page 383 and 384: 362 rasaesthetics is to move from o
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Page 389 and 390: 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
Page 397 and 398: 376 references Kaprow, Allan (1965)
Page 399 and 400: 378 references B. Schaffner (ed.) T
Page 401 and 402: 380 references (1973) Environmental
Page 403 and 404: 382 references (1986) “The Afterm
Page 405 and 406: 384 index 321-4, 351-5, 361-7. See
Page 407 and 408: 386 index barong (Bali) 141 barter
Page 409 and 410: 388 index communitas 128, 156. See
Page 411 and 412: 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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