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4 from ritual to theater and back: the efficacy ... - AAAARG.ORG

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Renaud, Paul 359 n. 2<br />

Reynolds, F. 171–2, 257<br />

Reynolds, V. 171–2, 257<br />

rhythm, dispersing rhythms 176–8,<br />

189–90, 195, 202–8; laughter<br />

280–1; music 253–5;<br />

performance rhythms 112–20;<br />

<strong>ritual</strong>s 242–3, 254–5, 299–300<br />

Richard III (Shakespeare) 287<br />

Richardson, Elliott 212<br />

rigid societies, play 102–3<br />

risks 45–6, 54–5, 244<br />

rites of passage. See <strong>ritual</strong>: of<br />

passage<br />

Rites of Passage, The (Van Gennep)<br />

100, 286<br />

<strong>ritual</strong> combat: Eskimos, Alaska <strong>and</strong><br />

Greenl<strong>and</strong> 274–5; inner city<br />

youth 277–9; Kurumugl, Papua<br />

New Guinea 88–90, 111 n. 5,<br />

120–29; Tsembaga, Papua<br />

New Guinea 112–17; Tiv, Nigeria<br />

275–7, Tiwi, Australia 26–7, 30–1,<br />

48, 58<br />

<strong>ritual</strong>ization 99, 222–34, 295;<br />

blocked display <strong>and</strong> performance<br />

260–6<br />

<strong>ritual</strong> 1–25, 37–45, 48–56, 69,<br />

94–120, 131–2, 138–41, 152–9,<br />

194, 218–2, 260–6, 283–4,<br />

290–332; ancient patterns of<br />

98–100; <strong>and</strong> play 98–110; animal<br />

<strong>to</strong> human 242–3; animism 67–8;<br />

body language of 262–3, 305–6;<br />

convergences 323–4; crises<br />

104–6, 108–10, 124, 132, 186–7;<br />

definition of 24–5, n. 23;<br />

diagrams depicting relation of<br />

<strong>ritual</strong> <strong>to</strong> play, games, sports, <strong>and</strong><br />

<strong><strong>the</strong>ater</strong> 15–17; dynamics 55–6,<br />

index 401<br />

98–100; <strong>efficacy</strong>–entertainment<br />

braid 129–63, 173; for <strong>to</strong>urists<br />

136–52; in Broadway musicals<br />

130–1; in <strong><strong>the</strong>ater</strong> 120–69, 207–8,<br />

220–2, 261–2; non-productivity<br />

11–12; primal <strong>ritual</strong> 2–7, 18, 37,<br />

291–5; of passage 120–9,<br />

159–60, 186, 192, 286; rehearsals<br />

<strong>and</strong> 203–8, 239, 261, 324, 327;<br />

rhythms of 242–3, 254–5,<br />

299–300; <strong>ritual</strong>ized aes<strong>the</strong>tic<br />

dramas 222–34; <strong>ritual</strong>ized<br />

hunting circuits 170–86, 191, 251;<br />

sacer ludus 2–7; selective<br />

inattention 222–34; time 8–10<br />

Rituals of animals 94–110, 235–7,<br />

242–5, 260–1, 263–4, 283–4,<br />

286–7<br />

Ritual, specific examples: Bora<br />

initiations, Australia 37, 44, 58;<br />

Engwura cycle of <strong>the</strong> Arunta,<br />

Australia 117–20, 129, 155, 158;<br />

hevehe cycle of <strong>the</strong> Elema, West<br />

Irian 37–45, 57–8; Kaiko pig kill<br />

of <strong>the</strong> Tsembaga, Papua New<br />

Guinea 88–9, 94, 112–17,<br />

120–9, 158; “Mudmen” of<br />

Makehuku, Papua New Guinea<br />

138–41; N<strong>and</strong>a initiations, Fiji<br />

56–8; pre-nuptial ceremony of<br />

<strong>the</strong> Gahuku, Papua New Guinea<br />

255–6; thovil ceremonies,<br />

Sri Lanka 90–4, 225, 231<br />

Rockefeller, Nelson 212, 217<br />

Rojo, Jerry 59–60, 152<br />

Roman: reality games 51, 191;<br />

<strong>to</strong>urists 150<br />

Romeo <strong>and</strong> Juliet (Shakespeare)<br />

254, 262, 354–5; <strong>and</strong> social<br />

drama 213–14, 217–18

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