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Hevehe cycle of the Elema (West Irian) 37–45, 48, 54, 57–8. See also ritual Heymaun, Wilhelm 359 n. 2 hierarchies 61–2 Hindu temple services 295 Hirohito, Emperor 231–2 Hochschild, Arlie Russel 132, 303, 305, 329 n. 10 Hoebel, E. Adamson 275 Hoffman, Abbie 256–7 holistic religions 52, 116 holy actors 197, 202 Homo Ludens (Huizinga) 100 Honorius of Autun 136–7 Howard, Mel 150 Howes, David 360 n. 8 Hsieh, Tehching 293–4 Hughes, Ted 77, 253 Huizinga, J. 11–12, 100, 107 human–animal performance continuities 235–89 Hunningher, Benjamim 21 n. 8 Hunters, The (Marshall and Gardner) 111 n. 2 hunting 67–8, 94–110, 103–10, 154, 170–86, 205–6, 251. See also play hunting circuits 170–86, 189, 191, 205–6, 251. See also play, origins of performance, ritual Huxley, Julian ix, 99, 242–3 Ibsen, Henrik 15–17, 187–8 The Idea of a Theater (Fergusson) 2 improvisations 5, 18, 70–2, 104, 238, 361–5 in-groups 283–6, 296–301 India 68, 72, 87, 109, 144–50, 184–5, 215, 223–5, 260, 266, 304–15, 334–67 individuality 103 industrial cultures 155–6, 159–60, 176, 188–9. See also culture infinity loop model of performance 214–18, 222–5. See also aesthetic drama, social drama information, action balances 194–5; disinformation 301 initiations 37, 44–57, 108–9, 192, 218–22, 263, 292–5. See also status changes; actuals 46, 49–52, 54–6; Engwura cycle of the Arunta 117–20, 129, 155, 158 insiders–outsiders 296–300 integral/accidental audiences 218–22 intermissions 195–6 International School of Theater Anthropology (ISTA) 146. See also Barba interruptions, audiences 84–5, 219 Ionesco, Eugène 10, 187 Iranian hostage crisis 292–5, 327 irrevocable acts, actuals 46, 49–52, 54–5 ISTA See International School of Theater Anthropology Italian Futurists 28 I Was Sitting on My Patio (Wilson) 288 n. 5 Jacobean theater 133–4 Japan 72, 109, 151–2, 216, 230–1, 266, 295, 343, 350 Java 284–5 jazz 252–3, 299 Jekels, Ludwig 283 Jews 49, 160, 221–2, 292–5 jokes 280–3, 286–7. See also laughter index 393
394 index Jonas 240 Jones, Amelia 358 jousts, champions 274–5 Jung, Carl Gustav 324 Ka Mountain (Wilson) 293–4 kabuki (Japan) 220, 235, 262, 329–30, n. 11 Kahn, Barry 294 Kaiko of the Tsembaga (Papua New Guinea) 88–90, 94, 112–17, 120–9, 158, 163 ns. 1, 2, 252 Kalahari Desert hunter-gatherers. See Kung! Kalamandalam, Kathakali training school 145, 149–50, 235, 262, 304, 306–15, 320, 335, 341–2 kalarippayattu (India) 349 Kaprow, Allan 9, 18, 25 n. 24 27–8, 63 n. 1, 166–7 n. 20, 240, 327, 332 n. 23, 358 kathakali (India) 145, 149–50, 235, 262, 304, 306–15, 320, 335, 341–2; training 311–12, 329–30 ns. 11, 15 Kazan, Elia 205 Kazuo, Shiraga 358 Kelley, Mike 358 Kenetisarobe, Papua New Guinea 140–2. See also Makehuku ketchak (Bali) 141–2, 165 n. 15 ki 350 kinetic energy 104–6 King Lear (Shakespeare) 6, 18–19 King, Martin Luther, Jr. viii The King of Spain (Wilson) 247–8 Kirby, E. T. 161–2, 166 n. 17, 266 Kirby, Michael xiii Kirshenblatt-Gimblett, Barbara xiii Kissinger, Henry 212 knowing and seeing 337–9 Knowles, Christopher 248–9, 317, 320 known systems 52 Koestler, Arthur 24 n. 21 Koffler, Richard xiii Kogu people of Papua New Guinea 237, 267–74, 280, 282–3, 285; informal court of 271–4. Komparu, Kunio 230–1 Konarak, India sculptings 67–8, 204 Konner, Melvin 323 Koratota, Sri Lanka 90–4 Kordian 145 Korea 109, 159 Kumiega, Jennifer 145 Kung! (South Africa) 67, 171 Kurumugl pig kill celebration, Papua New Guinea 88–9, 94, 112–13, 115–16, 120–9 Kurusawa, Akira 331 n. 21 kutiyattam (India) 311 La Barre, Weston 66, 95, 110 n. 1, 161–2, 251 Labov, William 277–9 language 56, 73–5, 235, 251–3, 261–3, 286–7, 305–6, 322–3. See also body language Lannoy, Richard 344–5 Lascaux 67, 170, 262–3. See also paleolithic cave performances, origins of theater and performance lateralization, brain 318–21 Latin America 156 Laughlin, Charles D. 318, 323 laughter: and aggression 278–86; Freud 280–3; rhythm 280–1 laying-on of hands 68
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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
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336 rasaesthetics been, and remains
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338 rasaesthetics “say” (Shiple
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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
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Page 371 and 372: 350 rasaesthetics breath and impetu
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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 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 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: 392 index Gahuku people of Papua Ne
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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