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Hamlet, directed by Richard Schechner at the Performing Garage in New York. I often used the rasa karuna (grief/anguish/compassion). Here’s a description from my rehearsal notes about what it felt like to experience karuna: I breathe in karuna, taste it, smell it. [. . .] My body folds on the first long exhale as my knees sink to the ground, my belly tightens and rounds my spine/my throat tightens/my breath heaves/my head bows [. . .]. One hand reaches up to cover my eyes while the other supports the rest of my weight as it drops further into the floor. I breathe in the karuna that is all around me. I sink into the feeling, my eyes well up with tears. I want to surrender my breath to the openness and expanding relief that sounding this pain would bring. [. . .] I tighten and fight against that feeling of vulnerability and exposure. The sound squeezes out anyway, a high keening noise. I breathe again and my mind rifles through the baggage of remembered and created associations I have with this feeling: A muscle memory? An emotional imprint? I can see the image of myself here on the floor. Then I see myself set out on the ice floe. [. . .] Then mourning the death of my father. Now I am playing a bit of Ofelia’s “mad scene”: rasaesthetics 367 The tears stream, I seek relief by crouching closer to the floor, squeezing my guts trying to support an insupportable sorrow. [. . .] The experience is as if it were happening to me, karuna is moving me according to its demands. I am not taking myself on an intellectual journey through my own personal psychology, to remember a time when I felt a similar feeling, though those memories may surface while I am working. I am simply and completely connecting with the rasa, working in relationship to the rasa, from the outside until it is the inside and back again.
REFERENCES Aldena, Guillerno E. (1971) “Mesa del Nayar’s Strange Holy Week,” National Geographic 139 (6): 780–94. American Anthropologist (1966) Issue on The Ethnography of Communication, 66 (6), part 2. American Federation of Arts (1962) The Ideal Theatre: Eight Concepts, New York: American Federation of Arts. And, Metin (1976) A Pictorial History of Turkish Dancing, Ankara: Dost Yayinlari. (1979) Karagoz: Turkish Shadow Theatre, Ankara: Dost Yayinlari. (1987) Near Eastern Rituals and Performances, New York: Performing Arts Journal Press. Arieti, Silvano (1948) “Special Logic of Schizophrenic and Other Types of Autistic Thought,” Psychiatry 11 (November): 325–38. Aristotle (1961) Aristotle’s Poetics, trans. S. H. Butcher, ed. Francis Fergusson, New York: Hill & Wang. Arnott, Peter (1959) The Theaters of Japan, New York: St Martin’s Press. Aronson, Arnold (1981) The History and Theory of Environmental Scenography, Ann Arbor: UMI Research Press. Arrowsmith, William (1959) “The Criticism of Greek Tragedy,” TDR, The Drama Review 3 (3): 1–57. Artaud, Antonin (1958) The Theatre and Its Double, trans. Mary Caroline Richards, New York: Grove Press. Auslander, Philip (2001) “Looking at Records.” TDR 45 (1) (T169): 77–83.
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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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314 magnitudes of performance her/h
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Page 341 and 342: 320 magnitudes of performance of er
Page 343 and 344: 322 magnitudes of performance edite
Page 345 and 346: 324 magnitudes of performance looki
Page 347 and 348: 326 magnitudes of performance 7 Mac
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Page 353 and 354: 332 magnitudes of performance from
Page 355 and 356: 334 rasaesthetics sharing of bodily
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Page 361 and 362: 340 rasaesthetics favorite flavors
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Page 375 and 376: 354 rasaesthetics come to mind. A b
Page 377 and 378: 356 rasaesthetics RASAESTHETICS IN
Page 379 and 380: 358 rasaesthetics early performance
Page 381 and 382: 360 rasaesthetics greed or killing.
Page 383 and 384: 362 rasaesthetics is to move from o
Page 385 and 386: 364 rasaesthetics with them, to ans
Page 387: 366 rasaesthetics Experience Rasabo
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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