4 from ritual to theater and back: the efficacy ... - AAAARG.ORG
4 from ritual to theater and back: the efficacy ... - AAAARG.ORG
4 from ritual to theater and back: the efficacy ... - AAAARG.ORG
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Artaud, An<strong>to</strong>nin 21 n. 7, 51, 54, 56,<br />
149, 197, 236, 254, 353–4, 361<br />
Arunta of Australia 117–20, 129, 158<br />
Asaro Valley, Papua New Guinea<br />
138–41. See also Makehuku<br />
Asia 88, 95–6, 117, 131, 144–7, 156.<br />
See also individual countries<br />
A<strong>the</strong>nian <strong><strong>the</strong>ater</strong>. See Greek <strong><strong>the</strong>ater</strong><br />
A<strong>the</strong>y, Ron 358<br />
athletes 45, 107, 228–9, 290–6,<br />
353–4. See also sports; emotions<br />
353–4<br />
Attic <strong><strong>the</strong>ater</strong>. See Greek <strong><strong>the</strong>ater</strong><br />
audiences/specta<strong>to</strong>rs 15–17, 44–61,<br />
70–94, 136–7, 162–3, 195–6,<br />
219–25; 101 (Dunn) 225–7, 234;<br />
accidental/integral audiences<br />
218–22; <strong>and</strong>: <strong>efficacy</strong>–<br />
entertainment braid 129–63;<br />
Greek <strong><strong>the</strong>ater</strong> 179–83, 195; The<br />
Life <strong>and</strong> Times of Joseph Stalin<br />
(Wilson) 222–5; Makbeth (The<br />
Performance Group) 59–61;<br />
<strong>the</strong> Mass 136–8, 205, 231–2;<br />
Mo<strong>the</strong>r Courage (Brecht, The<br />
Performance Group) 152–4, 195,<br />
227–9, 234, 241; noh audiences<br />
230–1, 233, 266, 295, 343, 350;<br />
Paradise Now (The Living<br />
Theater) 48–9, 59, 144, 161,<br />
219–20; The Tooth of Crime<br />
(Shepard, The Performance<br />
Group) 7, 73–88, 219; in:<br />
aes<strong>the</strong>tic dramas 97–8, 125–7,<br />
192–3, 219–22; eruptions by<br />
176–9; interactions with 84–5,<br />
162–3, 219–22; interruptions by<br />
84–5, 219–20; proscenium<br />
<strong><strong>the</strong>ater</strong> 179–83, 345, 357–8;<br />
selective inattention of 222–5<br />
index 385<br />
227–9; shamanism 254–5;<br />
sounding duels 266, 277–8;<br />
Thovil ceremonies, Sri<br />
Lanka 90–4, 225, 231<br />
Australia 58, 109, 121–2, 174, 185,<br />
191, 235, 247–8; native peoples 8,<br />
26–37, 44–8, 122, 158–9, 163–4 n.<br />
4, 164 ns. 5, 6, 8, 171–5, 185,<br />
200–1, 235; Dreamtime 164 n. 7,<br />
200–1, 250; preparations for<br />
performance 207.<br />
authors 46–7, 68–9, 70–88<br />
autism 102, 104, 348–9<br />
au<strong>to</strong>nomic nervous system (ANS)<br />
303–4. See also brain<br />
avant-garde 13, 18, 28–33, 70–7, 117,<br />
135–6, 155–6, 185, 195, 220, 306;<br />
functions of 117, 135–6; his<strong>to</strong>rical<br />
<strong>back</strong>ground 135–6, 155–6; <strong>and</strong><br />
Indian <strong><strong>the</strong>ater</strong> 185<br />
Avorn, Jerry L. 283<br />
Awasthi, Suresh 184–5<br />
baboons 104<br />
The Bacchae (Euripides) 4, 6, 205,<br />
268<br />
<strong>back</strong>stage procedures 130–1<br />
Balcony, The (Genet) 233<br />
Bald Soprano, The (Ionesco) 7<br />
Bali 58, 87, 94, 141–3, 147–9, 165 n.<br />
15, 168 n. 25, 197–202, 210 n. 13,<br />
244, 298; <strong>to</strong>urist performances<br />
in 141–2. See also trance<br />
BAM See Brooklyn Academy of<br />
Music<br />
B<strong>and</strong>em, I. Made 142<br />
Baraka, Imamu 144<br />
Barba, Eugenio 145–6, 148–9, 166<br />
n. 18.<br />
bards 133–4