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Cambridge anthropologists 1–7, 164 n. 10, 291, 295. See also Greek theater cannibalism 267–71, 288–9 n. 10 caricatures 282 Carlson, Marvin 328–9 n. 9 Carnatic music (India) 223–5 carnival 134, 171–3, 178–9, 191, 257 Carpenter, C. R. 102, 167 n. 23 Carter, Jimmy 217 cartographers 95 Cassirer, Ernst 36, 55–6 Catholicism 136–8, 160, 205, 231–2 cats 106–7 cave performances. See paleolithic cave performances celebrations 14, 88–90, 120–9 centaurs 197 ceremonies 1–25, 35–7, 49–58, 67, 90–9, 170–210, 218–19, 225; art 174–5; chimpanzees 171–4, 178–9, 191, 237–8, 241–2; hunting 67–8, 94–110, 103–10, 154, 170–86, 251; rehearsals 206–7. See also ritual Chaikin, Joseph 239; and Jean- Claude van Itallie 77 champions, jousts 274–5 changes 37, 44, 46, 54–6, 191–2; See also status changes; transformances 126–9, 138, 158–60, 186–97, 263–7, 286, 321 Chaplin, Charlie 207 Chapple, E. D. 299 character actors 197, 199–200, 202, 350 charismatic churches 254, 256 Chekhov, Anton 72, 187–8, 205 Chekhov, Michael 330 n. 17 chest-beating display 236 index 387 Cheuse, Alan xiii Chhau masked performance (India) 147–8 ch’i (China) 350 chimpanzees and other nonhuman primates 96–8, 104, 106–7, 171–4, 178–9, 191, 237–42. See also ethology, play, ritual China 72, 109, 145, 201–2, 232, 240, 315, 350 Chionides 5 Christian theater 5, 7, 8, 116 church rituals 5, 7, 8, 14, 133–7, 160 Cieslak, Ryszard 46–7, 54–5, 145, 197, 202. circumcisions 44, 49. See also ritual circuses 45, 178 Classen, Constance 360 n. 8 Clayburgh, James 152, 228 clowns 15, 102 Cobb, Lee J. 11 cock-fighting 18–19, 244 Cohen, Alexander H. 167 n. 22 Colby, William E. 212 Cole, Paula Murray 351, 353, 361, 366–7 Coliseum 51 Colombo, Sri Lanka 90 comedy 1–7, 44–5, 278–83 commercial theater 130–5, 220–1 communal cultures 155–6, 185. See also culture Commune (Schechner, The Performance Group) 84, 87–8, 169 n. 28. See also The Performance Group communications 56, 73–5, 235, 251–3, 261–3, 286–7, 301–23, 353, 358
388 index communitas 128, 156. See also Turner, Victor community values 14–15, 31–7, 103, 128–9, 135, 155–6, 160–1, 218, 265–6 concreteness 31–2, 36, 46, 56–63 conflicts 44, 76–8, 132, 134–5, 186–91, 205–6, 266–80, 285–6; game theory 18–19; laughter 280–6; private/public theaters 134–5, 292–5; social dramas 123–8, 132, 136, 186–93, 266–80 confrontations 44 Confucius 145 connoisseurs 340–1 consequential, irremediable, and irrevocable acts 46, 49–52, 54–5, 214–15 The Constant Prince (Calderon, Grotowski) 54, 55, 59, 145, 197, 201–2 contests as actuals 46, 52–4 conventional theater. See orthodox theater cooked food 29–30, 191, 195, 333–4, 337–67 cooldown and warmup 189–90, 207–8 Cooper, Gary 45 Cornford, Francis 2–7, 28 corporatism 183–4 costumes 11, 121–3, 128–9, 153, 191–2, 195, 262, 286, 313; shamanism 200–2, 262–3; star quality 233 court dramas 133–4, 179, 192, 266–7, 271–5 Cox, Archibald 212 Council grounds (Papua New Guinea) 111 n. 5 Cox, Archibald 212 creases and margins 183–4 creativity 33–6, 46–7, 53, 87, 106, 203, 129–63, 318–21; efficacy– entertainment braid 129–63 crises 104–10, 124, 132, 186–90, 211–34, 266–80, 327. See also social dramas culture 4–7, 32, 98–9, 109–10, 132–5, 143–5, 155–6, 182–5, 214–18, 287; Cambridge anthropologists 4–5, 291–6; communal/industrial contrasts 155–6, 159–60; efficacy– entertainment braid 129–63, 173; facial expressions 301–9, 322–5; global megaculture 110; historical timescale 244–5; performance boundaries 70–2, 287, 324; universals 290–6, 305–6, 323–7; webs 235–6; zoos 143–4 Cunningham, Merce 233 Dadaists 28 Daly, Ann xiii dances 2–7, 13–17, 32–45, 68–9, 77, 90–94, 112–13, 120–30, 174–9; aesthetic dramas 127; African Mbuti Molimo 174–5; Australia native peoples 8, 26–37, 44–8, 122, 158–9, 171–5, 185, 200–1, 235; Bali 141–8, 197–202; India: chhau 147–8; kathakali 145, 149–50, 235, 262, 304, 306–15, 320, 335, 341–2; 91–4; grace 203–6; Papua New Guinea 88–9, 94, 112–17, 120–30, 138–42; military displays 267; Natyasastra 306–15, 322, 334–7, 355; noise
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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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316 magnitudes of performance confi
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318 magnitudes of performance BRAIN
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320 magnitudes of performance of er
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322 magnitudes of performance edite
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324 magnitudes of performance looki
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326 magnitudes of performance 7 Mac
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328 magnitudes of performance socie
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330 magnitudes of performance and m
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332 magnitudes of performance from
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334 rasaesthetics sharing of bodily
Page 357 and 358: 336 rasaesthetics been, and remains
Page 359 and 360: 338 rasaesthetics “say” (Shiple
Page 361 and 362: 340 rasaesthetics favorite flavors
Page 363 and 364: 342 rasaesthetics feelings, but wha
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Page 367 and 368: 346 rasaesthetics conducted by Mich
Page 369 and 370: 348 rasaesthetics or preempt the br
Page 371 and 372: 350 rasaesthetics breath and impetu
Page 373 and 374: 352 rasaesthetics progression from
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 and 388: 366 rasaesthetics Experience Rasabo
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: 386 index barong (Bali) 141 barter
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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