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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

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