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

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To my bro<strong>the</strong>rs William Arthur David To my sisters Danice Judi Norma
Page 2 and 3: Performance Theory “Reading Perfo
Page 4 and 5: Richard Schechner Performance Theor
Page 8: CONTENTS Preface to the Routledge C
Page 11 and 12: x preface to the routledge classics
Page 13 and 14: xii preface to the routledge classi
Page 15 and 16: xiv acknowledgments Foundation for
Page 18 and 19: INTRODUCTION: THE FAN AND THE WEB T
Page 20: illusory. But, the Sanskrit traditi
Page 23 and 24: 2 approaches Frazer (of The Golden
Page 25 and 26: 4 approaches Figure 1.1 (Murray cal
Page 27 and 28: 6 approaches become plain. We have,
Page 29 and 30: 8 approaches PLAY, GAMES, SPORTS, T
Page 31 and 32: 10 approaches performers’ carryin
Page 33 and 34: 12 approaches But how can this be?
Page 35 and 36: 14 approaches performance activitie
Page 37 and 38: Figure 1.2 Performance chart Play G
Page 39 and 40: 18 approaches the looser the inner,
Page 41 and 42: 20 approaches fashionable notion th
Page 43 and 44: 22 approaches west, there is no sep
Page 45 and 46: 24 approaches 18 This self-awarenes
Page 47 and 48: 2 ACTUALS Tiwi society is establish
Page 49 and 50: 28 actuals 10 feet wide, and 8 feet
Page 51 and 52: 30 actuals Cooked food “comes aft
Page 53 and 54: 32 actuals “biggies” of art, in
Page 55 and 56: 34 actuals any attempt to compose t
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36 actuals the result of something
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38 actuals Hevehe over the years -
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40 actuals Streaming with perspirat
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42 actuals Or, “I have called you
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44 actuals killed anyway, and not m
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46 actuals An actual has five basic
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48 actuals We conventionally think
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50 actuals burning clothes, burning
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52 actuals West Irian 13 ) are inco
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54 actuals the quality of the actio
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56 actuals Events are the ritual. W
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58 actuals in the upper story of th
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Plate 2.1 Makbeth environment, desi
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62 actuals would be impossible with
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64 actuals kinds of experience incl
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3 DRAMA, SCRIPT, THEATER, AND PERFO
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68 drama, script, theater, and perf
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Figure 3.3
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Plate 3.4 A thovil in Sri Lanka. An
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100 drama, script, theater, and per
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4 FROM RITUAL TO THEATER AND BACK:
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114 from ritual to theater and back
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Figure 4.1
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5 TOWARD A POETICS OF PERFORMANCE H
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172 toward a poetics of performance
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Figure 5.4 The Athenian theater Not
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212 selective inattention under Nix
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214 selective inattention is presum
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216 selective inattention of turmoi
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218 selective inattention order: if
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220 selective inattention though mo
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222 selective inattention event is
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224 selective inattention part of t
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226 selective inattention resulted
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228 selective inattention green roo
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230 selective inattention theater,
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232 selective inattention not merel
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234 selective inattention of these
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236 ethology and theater Studies of
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238 ethology and theater few moment
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240 ethology and theater modern and
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242 ethology and theater moment’s
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244 ethology and theater aggression
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246 ethology and theater performanc
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248 ethology and theater King of Sp
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250 ethology and theater hemisphere
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252 ethology and theater plays this
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254 ethology and theater emotional
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256 ethology and theater shrouded e
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258 ethology and theater (1963) tel
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260 ethology and theater against th
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262 ethology and theater cover by m
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264 ethology and theater Figure 7.1
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266 ethology and theater and so on.
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268 ethology and theater Nasecompa
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270 ethology and theater of Wanevin
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272 ethology and theater Sexual cas
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274 ethology and theater water and
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276 ethology and theater Torgindi w
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278 ethology and theater looks, eat
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280 ethology and theater forbidden
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282 ethology and theater inaccessib
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284 ethology and theater hide, kill
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286 ethology and theater suddenly r
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288 ethology and theater correlate
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8 MAGNITUDES OF PERFORMANCE A FIGUR
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Figure 8.1 Performance Time/Space/E
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294 magnitudes of performance Notes
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296 magnitudes of performance are g
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298 magnitudes of performance pecul
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300 magnitudes of performance parti
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Figure 8.2
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304 magnitudes of performance Figur
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306 magnitudes of performance of an
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magnitudes of performance 311 Plate
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Plate 8.12 A fully made up kathakal
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magnitudes of performance 315 from
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magnitudes of performance 317 such
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Figure 8.4 Fischer’s (1971) carto
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magnitudes of performance 321 inter
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magnitudes of performance 323 that
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magnitudes of performance 325 never
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the brain events, microbits, and bi
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magnitudes of performance 329 syste
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magnitudes of performance 331 tradi
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9 RASAESTHETICS Where in the body i
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asaesthetics 335 be lecture notes c
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an overall theory of flavor as it p
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to the favorite object. Even before
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asaesthetics 341 white light, shant
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know. In the rasic system, each per
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phonetic science to the needs of th
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asaesthetics 347 they did [. . .] t
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asaesthetics 349 In short, I now ta
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very important and well-theorized i
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asaesthetics 353 be in a composed r
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At this stage, actors test out the
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asaesthetics 357 pathways, unexpect
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asaesthetics 359 celebration of Ind
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Rasaboxes Performer Training Michel
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asaesthetics 363 When they first ex
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age, for example, or Bound, Strong
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Hamlet, directed by Richard Schechn
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eferences 369 Avorn, Jerry L. (1968
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eferences 371 Byrski, Christopher (
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eferences 373 Fischer, Roland (1971
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eferences 375 (1913) Ancient Art an
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eferences 377 Laing, R. D. (1960) T
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eferences 379 Partridge, Eric (1966
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eferences 381 Svoboda, Josef (1966)
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101 (Dunn) 225-7, 234 Abhinavagupta
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Artaud, Antonin 21 n. 7, 51, 54, 56
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Cambridge anthropologists 1-7, 164
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203-4; paleolithic caves 66-9, 94-6
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Euripides 4-5, 6, 28, 73, 205, 268;
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Hevehe cycle of the Elema (West Iri
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Le Perq space of the Brooklyn Acade
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neural crest 346 New Orleans Group
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playing both self and character 44-
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Renaud, Paul 359 n. 2 Reynolds, F.
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33-7, 149, 197-202, 250-1, 255-6; G
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158-60, 186-97, 263-7, 279-80, 286,
Page 428:
Yamuruhu, Asuwe 140-1 Yanomami 149
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4 from ritual to theater and back: the efficacy ... - AAAARG.ORG

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