visatekstis dokumentas (pdf) - Klaipėdos universitetas

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Greta Klimavičiūtė-Minkštimienė
Ryšys tarp aktoriaus ir žiūrovo:
antropologinė perspektyva
Turner 1967 – Victor Turner. The Forest of Symbols. Aspects of Ndembu Ritual. New York:
Cornell University Press.
Turner 1969 – Victor Turner. The Ritual Process. Chicago: Adine.
Turner 1982 – Victor Turner. From Ritual to Theatre. New York: PAJ Publications.
Turner 1988 – Victor Turner. The Anthropology of Performance. New York: PAJ Pubications.
Ubersfeld 1999 – Anne Ubersfeld. Reading theatre. Toronto: University of Toronto Press.
Greta Klimavičiūtė-Minkštimienė
LINKS BETWEEN ACTOR AND AUDIENCE:
ANTHROPOLOGICAL PERSPECTIVE
Summary
The aim of the article is to define and review the forms and levels of the connection
between actor and spectator, developed during a performance. The work
includes the following research issues: What is the connection between actor and
spectator from actor’s and the spectator’s point of view? How is this connection
constructed and created? What are the necessary conditions for this connection
to happen? What impact has this connection on actors and spectators during and
after performance? The objective of the research is actors (Kaunas kamerinis theatre
and Kaunas dramos theatre) and audience (two focus groups). The theoretical
approach of the thesis is grounded in anthropology and supplementary data from
sociology, theatre and communication studies. The principal methods used in this
research are participant observation, semi-structured interviews, group interview
and focus group interviews.
The connection between actor and spectator is understood not only as transmitted
and received symbolic meanings or conceptions of the stage director,
where the actor becomes simply one of the elements of performance, and the
spectator only the person who perceives these meanings. In this study, this connection
is understood as mutual communication, contact, interaction between
one person (performer-actor) and another person (observer-spectator).
The tasks of the article are divided into three parts. The first part deals with
three levels of connection between actor and spectator in which cultural schemes
(Sahlins 2003), systems of symbols (Geertz 2005) and cultural frames (Goffman
1974) are functioning. This part explains what significance and influence these
levels have for the actor and the spectator. Also, this work analyses social drama,