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

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a performance condition <strong>the</strong> performers’ way of working <strong>and</strong> interactions<br />

with each o<strong>the</strong>r. These are only a few of <strong>the</strong> many combinations<br />

<strong>and</strong> outcomes possible.<br />

Mimetic <strong><strong>the</strong>ater</strong> has given us great masterpieces. Mimetic acting is a<br />

major tradition. There are o<strong>the</strong>r kinds of performances, however. Of<br />

<strong>the</strong>se, actuals relate practices among tribal “whole-seeking” peoples<br />

<strong>and</strong> parts of our own population. Parallels can be misleadingly overdrawn.<br />

But I think people in <strong>the</strong> west are whole-seeking in ways <strong>and</strong><br />

on a scale not experienced in our culture for hundreds of years. What<br />

we are undergoing is not a neo-primitive movement, but a postmodern<br />

one.<br />

NOTES<br />

actuals 63<br />

1 Kaprow’s work, more than any o<strong>the</strong>r I know, has <strong>the</strong> simple quality of “happening”<br />

– of something that is. By ever so slight a change or heightening he<br />

converts everyday actions in<strong>to</strong> “mysteries.” See his Assemblages, Environments<br />

<strong>and</strong> Happenings (1966b), also his “poster-scenarios” which are both<br />

announcements of his pieces <strong>and</strong> <strong>the</strong>ir scenarios.<br />

2 For a popular explanation of earth art, see Bongartz (1970: 166 ff.). Earth art<br />

develops <strong>from</strong> some very old impulses <strong>and</strong> is based on two principles: 1) art<br />

includes <strong>the</strong> arrangement of natural objects or <strong>the</strong> confrontation between a<br />

natural object <strong>and</strong> a man-made object – for example, draping a cliff for 1 mile<br />

with cloth; 2) art is au<strong>to</strong>nomous <strong>and</strong> can <strong>the</strong>refore be “displayed” anywhere,<br />

even where it is not likely <strong>to</strong> be seen by human beings such as under water or<br />

deep in a desert.<br />

3 Aris<strong>to</strong>tle’s view of <strong>the</strong> world is organic – he sees all growth <strong>and</strong> development<br />

modeled on what he observed in plants <strong>and</strong> animals. He believed that every<br />

event contained at <strong>the</strong> beginning <strong>the</strong> virtuality of its entire career. He believed in<br />

“fulfillment” ra<strong>the</strong>r than “transformation.”<br />

4 Shamanism has both a technical <strong>and</strong> a broad meaning. Its technical meaning is<br />

that of a certain kind of magico-religious system originating with hunter<br />

peoples in Central Asia. The word is of Siberian origin. The techniques of<br />

shamanism spread westward across <strong>the</strong> nor<strong>the</strong>rn tier of Europe <strong>and</strong> <strong>to</strong> <strong>the</strong><br />

north shores of <strong>the</strong> Mediterranean <strong>and</strong> eastward across Siberia in<strong>to</strong> Alaska <strong>and</strong><br />

down in<strong>to</strong> both North <strong>and</strong> South America. Shamanism in its more general<br />

meaning includes all kinds of ceremonial systems combining curing by means<br />

of spirit-journey <strong>and</strong> exorcism with techniques drawn <strong>from</strong> <strong>the</strong> performing arts.<br />

It is in this wider sense that I use <strong>the</strong> word.<br />

5 Shamanism is not “magic” in our debased sense of <strong>the</strong> word. It is religious<br />

technique that assumes communication <strong>and</strong> transformation among several

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