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

More documents

Recommendations

Info

actuals 59 We are almost unique in using ready-made spaces for theaters. Possibly the development of a theater as a special place which can accommodate many different kinds of performance is tied to urban cultures where space is expensive and must be clearly marked out for uses. Surely the need for scene design in our theater is an attempt to overcome the limitations of ready-made space as well as an outlet for mimetic impulses. A strong current of the new theater is to allow the event to flow freely through space and to design whole spaces entirely for specific performances. Grotowski is a master of this, using very simple elements and combining these with meaningful deployment of the audiences and precise movement of the performers so that the spatial dynamics of the production metaphorize the drama. Thus the audience peeps down at the sacrificial planks on which the constant Prince is immolated, or sits amid the proliferating crematorium pipes of Akropolis, or only slightly fills the large open volume of Apocalypsis. Paradise Now stumbled through the Brooklyn Academy of Music because that large proscenium theater blocked the flow of the performance. In The Performance Group’s Makbeth (1969) I experimented with audience movement through a complicated space. The environment, designed by Jerry Rojo (see McNamara, Rojo, and Schechner 1975), is not easy to describe. It is an interlocked arrangement of cubic spaces, ladders, a stairway, and a long curved ramp. The whole space is 50 by 40 by 20 feet.The lowest level is a trench 6 feet deep and 35 feet long cut below floor level on one side of the space’s 50-foot axis. Over it a vertical grandstand of five stories rises from floor to ceiling. On floor level is a table 25 by 12 feet around which audiences can sit and on which scenes are played (plate 2.1). In three corners of the room are similar but not identical two-and three-story cubes rising to the ceiling. Along the wall opposite the grandstand is a long ramp rising from the head of the stairs to the top of a corner structure. All the space is open – there are no interior walls, doors, or hangings. At the edge of most of the platforms are narrow strips of carpet on which the audience sits. The floor is concrete and the walls of the room white. The performance occurs throughout the space, often with three or four scenes playing simultaneously. There is no place a spectator can see everything from. On several occasions I met with audience of
Plate 2.1 Makbeth environment, designed by Jerry Rojo. (Photograph by Frederick Eberstadt)
Page 2 and 3:
Performance Theory “Reading Perfo
Page 4 and 5:
Richard Schechner Performance Theor
Page 6:
To my brothers William Arthur David
Page 10 and 11:
PREFACE TO THE ROUTLEDGE CLASSICS E
Page 12 and 13:
preface to the routledge classics e
Page 14 and 15:
ACKNOWLEDGMENTS Performance Theory
Page 16:
AUTHOR’S NOTE The differences bet
Page 19 and 20:
xviii introduction: the fan and the
Page 22 and 23:
1 APPROACHES THE CAMBRIDGE ANTHROPO
Page 24 and 25:
approaches 3 “Eniautos-Daimon,”
Page 26 and 27:
dithyramb are doubtful; and the con
Page 28 and 29:
approaches 7 Waiting for Godot, The
Page 30 and 31: approaches 9 KO can end the fight a
Page 32 and 33: approaches 11 Objects In everyday l
Page 34 and 35: approaches 13 adjustments are made
Page 36 and 37: approaches 15 play, games, sports,
Page 38 and 39: Figure 1.3 Self-assertive “I”:
Page 40 and 41: King Lear according to the techniqu
Page 42 and 43: 6 Webster, who supports the dithyra
Page 44 and 45: approaches 23 interest in “primit
Page 46 and 47: approaches 25 a ritual is a stereot
Page 48 and 49: actuals 27 harangue of about 20 min
Page 50 and 51: actuals 29 shape, rhythm and life-s
Page 52 and 53: people thinks systematically in its
Page 54 and 55: actuals 33 new theater (and life-st
Page 56 and 57: actuals 35 The shaman is prized by
Page 58 and 59: actuals 37 Eliade does not define r
Page 60 and 61: actuals 39 The night before the eme
Page 62 and 63: actuals 41 into two, one for either
Page 64 and 65: actuals 43 Williams tells of many t
Page 66 and 67: actuals 45 comic overdevelops part
Page 68 and 69: actuals 47 hand, the associations t
Page 70 and 71: actuals 49 spectators wisecrack and
Page 72 and 73: actuals 51 half-dead mice. The floo
Page 74 and 75: actuals 53 the play has been runnin
Page 76 and 77: actuals 55 Initiation can be the ke
Page 78 and 79: actuals 57 ceremony. This ad hoc th
Page 82 and 83: actuals 61 around seventy-five befo
Page 84 and 85: a performance condition the perform
Page 86 and 87: actuals 65 manuscript scenario whic
Page 88 and 89: drama, script, theater, and perform
Page 92 and 93: Figure 3.1
Page 98 and 99: seems to me that the reason someone
Page 100 and 101: Plate 3.2 The Performance Group’s
Page 126 and 127: metaphorically. The metabolisms of
Page 130 and 131:
drama, script, theater, and perform
Page 132 and 133:
drama, script, theater, and perform
Page 134 and 135:
from ritual to theater and back 113
Page 136 and 137:
Page 138 and 139:
Page 140 and 141:
comprised, the small cycle of perfo
Page 142 and 143:
Page 144 and 145:
Page 146 and 147:
Page 148 and 149:
Page 150 and 151:
are next year’s creditors, etc. T
Page 152 and 153:
Page 154 and 155:
Figure 4.5
Page 156 and 157:
Page 158 and 159:
Page 160 and 161:
Page 162 and 163:
Page 164 and 165:
Page 166 and 167:
trip to central Asia and China. Acc
Page 168 and 169:
Page 170 and 171:
Page 172 and 173:
Page 174 and 175:
Page 176 and 177:
Page 178 and 179:
ing into a special place a transcen
Page 180 and 181:
Page 182 and 183:
Page 184 and 185:
ehavior (what I call “restored be
Page 186 and 187:
Page 188 and 189:
Page 190 and 191:
Page 192 and 193:
toward a poetics of performance 171
Page 194 and 195:
Page 196 and 197:
must be cautious when assuming an a
Page 198 and 199:
Page 200 and 201:
Page 202 and 203:
Figure 5.5 The proscenium theater N
Page 204 and 205:
Page 206 and 207:
Page 208 and 209:
Page 210 and 211:
Page 212 and 213:
Page 214 and 215:
Page 216 and 217:
Page 218 and 219:
Page 220 and 221:
Page 222 and 223:
Page 224 and 225:
spectators. In expanding our knowle
Page 226 and 227:
Page 228 and 229:
Page 230 and 231:
Page 232 and 233:
6 SELECTIVE INATTENTION RELATIONSHI
Page 234 and 235:
something big in itself but a “st
Page 236 and 237:
Figure 6.2 selective inattention 21
Page 238 and 239:
selective inattention 217 To return
Page 240 and 241:
selective inattention 219 aesthetic
Page 242 and 243:
Integral-Aesthetic Accidental-aesth
Page 244 and 245:
selective inattention 223 those who
Page 246 and 247:
selective inattention 225 they’re
Page 248 and 249:
selective inattention 227 Schechner
Page 250 and 251:
selective inattention 229 “myself
Page 252 and 253:
selective inattention 231 construct
Page 254 and 255:
selective inattention 233 star qual
Page 256 and 257:
7 ETHOLOGY AND THEATER ANIMAL-HUMAN
Page 258 and 259:
ethology and theater 237 or on over
Page 260 and 261:
ethology and theater 239 This is th
Page 262 and 263:
ethology and theater 241 when he be
Page 264 and 265:
ethology and theater 243 all human
Page 266 and 267:
to accompany performances or was ex
Page 268 and 269:
ethology and theater 247 feelings
Page 270 and 271:
ethology and theater 249 Wilson’s
Page 272 and 273:
ethology and theater 251 the call c
Page 274 and 275:
ethology and theater 253 agons of p
Page 276 and 277:
ethology and theater 255 musical pe
Page 278 and 279:
Hindsight discredits Hoffman as a p
Page 280 and 281:
ethology and theater 259 the value
Page 282 and 283:
ethology and theater 261 of evoluti
Page 284 and 285:
ethology and theater 263 cave. As I
Page 286 and 287:
Figure 7.3 ethology and theater 265
Page 288 and 289:
ethology and theater 267 Papua New
Page 290 and 291:
ethology and theater 269 with them
Page 292 and 293:
ethology and theater 271 Among the
Page 294 and 295:
ethology and theater 273 wealth; th
Page 296 and 297:
ethology and theater 275 within”
Page 298 and 299:
Torgindi had won the case, but that
Page 300 and 301:
ethology and theater 279 dialogic a
Page 302 and 303:
Figure 7.4 ethology and theater 281
Page 304 and 305:
weapons. On March 20, 1968, Colonel
Page 306 and 307:
ethology and theater 285 premises i
Page 308 and 309:
shuns the actors who play Oedipus o
Page 310 and 311:
ethology and theater 289 practice.
Page 312 and 313:
magnitudes of performance 291 and s
Page 314 and 315:
Days Months or more Election of pop
Page 316 and 317:
magnitudes of performance 295 9 In
Page 318 and 319:
magnitudes of performance 297 could
Page 320 and 321:
magnitudes of performance 299 is co
Page 322 and 323:
ewilderment in front of and for who
Page 324 and 325:
magnitudes of performance 303 unles
Page 326 and 327:
magnitudes of performance 305 ritua
Page 331 and 332:
310 magnitudes of performance bodil
Page 333 and 334:
312 magnitudes of performance must
Page 335 and 336:
314 magnitudes of performance her/h
Page 337 and 338:
316 magnitudes of performance confi
Page 339 and 340:
318 magnitudes of performance BRAIN
Page 341 and 342:
320 magnitudes of performance of er
Page 343 and 344:
322 magnitudes of performance edite
Page 345 and 346:
324 magnitudes of performance looki
Page 347 and 348:
326 magnitudes of performance 7 Mac
Page 349 and 350:
328 magnitudes of performance socie
Page 351 and 352:
330 magnitudes of performance and m
Page 353 and 354:
332 magnitudes of performance from
Page 355 and 356:
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
Page 365 and 366:
344 rasaesthetics infused with inte
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 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 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-
show all

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

Create successful ePaper yourself

Delete template?

Save as template?