By Erika Fischer-Lichte
In this booklet, Erika Fischer-Lichte strains the emergence of functionality as 'an art event' in its personal correct. In atmosphere functionality artwork on an equivalent footing with the conventional paintings item, she heralds a brand new aesthetics.
The abnormal mode of expertise functionality provokes – blurring differences among artist and viewers, physique and brain, artwork and existence – is right here framed because the breeding flooring for a brand new method of understanding performing arts, and during them even wider social and cultural processes.
With an creation by means of Marvin Carlson, this translation of the unique Ästhetik des Performativen addresses key concerns in functionality artwork, experimental theatre and cultural performances to put the floor for a brand new appreciation of the inventive event.
Read Online or Download The Transformative Power of Performance: A New Aesthetics PDF
Best theater books
The Cambridge Companion to Victorian and Edwardian Theatre (Cambridge Companions to Literature)
This better half is designed for readers attracted to the construction, creation and interpretation of Victorian and Edwardian theater. An advent surveying the old interval of the theater is via an essay contextualizing it in the tradition as a complete. Succeeding chapters study functionality and construction, (including track, actors, stagecraft and audience), performs and playwriting and problems with type and gender.
Critical Theory and Performance: Revised and Enlarged Edition (Theater: Theory Text Performance)
Severe thought and function provides a huge diversity of serious and theoretical tools and applies them to modern and ancient functionality genres—from degree performs, dance-dramas, functionality paintings, cabaret, stand-up comedy, and jazz to circus, road theater, and shamanistic ritual. because the first complete advent to serious theory’s wealthy and various contributions to the learn of drama, theater, and function, the ebook has been hugely influential for greater than a decade in delivering fertile flooring for tutorial investigations within the full of life box of functionality experiences.
The Fighting Art of Pencak Silat and Its Music: From Southeast Asian Village to Global Movement
Battling arts have their very own good looks, inner philosophy, and are attached to cultural worlds in significant and critical methods. Combining methods from ethnomusicology, ethnochoreology, functionality idea and anthropology, the distinguishing function of this publication is that it highlights the centrality of the pluripotent paintings kind of pencak silat between Southeast Asian arts and its value to a community of conventional and sleek acting arts in Southeast Asia and past.
- The Future Of Ritual: Writings on Culture and Performance
- Drama Kings: Players and Publics in the Re-creation of Peking Opera, 1870-1937
- Performing Migrancy and Mobility in Africa: Cape of Flows
- Sex on Stage: Gender and Sexuality in Post-War British Theatre
- The Theatre of Howard Barker
- The Chemistry of the Theatre: Performativity of Time
Additional resources for The Transformative Power of Performance: A New Aesthetics
Sample text
Schechner had devised a special opening ceremony for them based on the initiation rites described by Arnold van Gennep in The Rites of Passage (1909). The audience was invited to participate in the Dionysian Birth Ritual, Pentheus’ Death Ritual, and the Ecstasy Dance: “Together we make a community. We can celebrate together. Be joyous together … So join us in what we do next. ). Most of these staged rituals were derived from descriptions of a variety of actual rituals from different cultures. The crux of the performance, the birth and death rituals, was based on an adoption ritual of the Asmat tribe in New Guinea.
He urged for the establishment of a new discipline in the arts – theatre studies – arguing that performance, not literature, constituted theatre: “… it is the performance that matters …” (1914: 118). He considered the mere privileging of performance over text insufficient and proclaimed instead a fundamental polarity between the two that precluded a harmonious union: “I am convinced that … theatre and drama … are originally oppositional, … the symptoms of this opposition consistently reveal themselves: drama is the textual creation of an individual, theatre is the achievement of the audience and its servants” (1918 – in response to Alfred Klaar ).
What emerges from the interaction is given priority over any possible creation of meaning. The mere act of suddenly cutting into her own skin with a razor blade weighed heavier than the fact that Abramović cut a five-pointed, symbolically loaded star into her skin. What matters is the fact that something occurs and that what occurs affects, if to varying degrees and in different ways, everyone involved. It remains unresolved, however, whether Herrmann intended his formulations “[inner] empathy,” “experiencing the performance,” and “emotional infection” to indicate an actual transformation of the audience through the performance.