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A review of richard schechners three major essays

Additional Information In lieu of an abstract, here is a brief excerpt of the content: Book Reviews comparatists who have obviously done research in mher fields. Despite itsedilOrial flaws and imperialist exclusions, Performing Feminisms is therefore a rich book worth buying and reading.

  • In the earlier essays, this last term is scarcely distinct from whatever could be described as behaviour, human or non-human;
  • His "perfonnance" is an essential something in human and animal behaviour that is fundamental to both ritual and play.

The earlier, more precisely titled, volume contained "Kinesics and Performance" an essay written with Cynthia Mintz, now excluded. In its place we find two additional essays, onc dated 1966 and the other from 1982, in its earliest version.

The latter, "Magnitudes of Perfonnance," venturing boldly into a comprehensive semiotic categorization, dominates the new book. The other essays have been revised in minor and more substantial ways.

  • He has changed the way theatre is taught in our schools and written about by our critics and public intellectuals;
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  • His impact has been enormous because—as I said—he has always rooted it back to theatre and to the performative rather than into the esoteric and unrooted psycho-babble and ersatz social scientific jargon that has been the domain of too many theorists today, many of them working in his name, many who should know better;
  • In the modern theatre, many people have tried to forge this link;
  • And NYU reciprocated the favour by naming Prof;
  • He is particularly ambitious...

Whatever it was that was alluded to as "the New Dance" fourteen years ago is now re-designated "postmodern dance" p. Likewise our once "post-industrial" situati. Schechncr has always been rather insistent on knowing where it's at, and of writing, ostenSibly, from that address.

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He responds thus to Shepard's aggrieved question about lack of respect for the playwright's vision, but without directly meeting Shepard's challenge. Schechner's answer, in effect, is that the playwright provided a point ofdeparture for the production, which was then recorded in written and photographic form and now emerges, with a permanence rivalling that of the subJated play, as an alternative vision and "script.

They constitute the title ofone of the essays and are used elsewhere in the volume. Schechner's other three terms are "drama" the performance of plays - by the luckier playwrights!

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In the earlier essays, this last term is scarcely distinct from whatever could be described as behaviour, human or non-human. In the last essay, however, "performance " becomes a yet more inclusive category.

Here the objects of study are "performances of different magnitudes, from the very longest, lasting months or even years, to split-second events; from the largest, spanning millions of miles, to the smallest 'brain events' of conceptual art - performances making no spatial claims at all; from clear examples of theater, dance and music to what Clifford Geertz might lift his eyebrows at as the blurriest ofgenres: In Schechner, "perfonnance" is not identifiable with "ritual" and is not its derivative as enthusiastically and influentially proposed by the Cambridge anthropologists in the earlier years of the century, who are here recalled ; neither is it precisely the same as " play.

His "perfonnance" is an essential something in human and animal behaviour that is fundamental to both ritual and play.

A True Friend of Theatre Art in All its Manifestations : Richard Schechner

Schechner would probably find congenial T. Eliot's remark in an early essay, "The Beating of a Drum" that the desire to beat a drum precedes the reason for doing so whether to end a drought or whatever - that plausibility requires. Like its predecessor, the present volume is not the exposition of a coherent theory but rather a series of speculative essays that throw off richly suggestive notions as they attempt to forge links between Schechner's anthropological observations of the almost exclusively patriarchal rituals of "primitive peoples" p.

He is particularly ambitious.

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  • In the earlier essays, this last term is scarcely distinct from whatever could be described as behaviour, human or non-human;
  • In Schechner, "perfonnance" is not identifiable with "ritual" and is not its derivative as enthusiastically and influentially proposed by the Cambridge anthropologists in the earlier years of the century, who are here recalled ; neither is it precisely the same as " play;
  • Like its predecessor, the present volume is not the exposition of a coherent theory but rather a series of speculative essays that throw off richly suggestive notions as they attempt to forge links between Schechner's anthropological observations of the almost exclusively patriarchal rituals of "primitive peoples" p;
  • The latter, "Magnitudes of Perfonnance," venturing boldly into a comprehensive semiotic categorization, dominates the new book;
  • You are not currently authenticated.

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