By Means Of Performance

The field of performance studies embraces performance behaviour of all kinds and in all contexts, from everyday life to high ceremony. This volume investigates a wide range of performance behaviour - dance, ritual, conflict situation, sports, storytelling and display behaviour - in a variety of circumstances and cultures. It considers such issues as the relationship between training and the finished performance; whether performance behaviour is universal or culturally specific; and the relationships between ritual aesthetics, popular entertainment and religion, and sports and theatre and dance. The volume brings together essays from leading anthropologists, artists and performance theorists to provide a definitive introduction to the burgeoning field of performance studies. It will be of value to scholars, teachers and students of anthropology, theatre, folklore, semiotics and performance studies.

The field of performance studies embraces performance behaviour of all kinds and in all contexts, from everyday life to high ceremony. This volume investigates a wide range of performance behaviour - dance, ritual, conflict situation, sports, storytelling and display behaviour - in a variety of circumstances and cultures. It considers such issues as the relationship between training and the finished performance; whether performance behaviour is universal or culturally specific; and the relationships between ritual aesthetics, popular entertainment and religion, and sports and theatre and dance. The volume brings together essays from leading anthropologists, artists and performance theorists to provide a definitive introduction to the burgeoning field of performance studies. It will be of value to scholars, teachers and students of anthropology, theatre, folklore, semiotics and performance studies.

This investigation was made for an engine in which the ratio of axial-inlet-air velocity to compressor-tip velocity is constant, which approximates operation of turbojet engines with axial-flow compressors.

The field of performance studies embraces performance behaviour of all kinds and in all contexts, from everyday life to high ceremony. This volume investigates a wide range of performance behaviour - dance, ritual, conflict situation, sports, storytelling and display behaviour - in a variety of circumstances and cultures. It considers such issues as the relationship between training and the finished performance; whether performance behaviour is universal or culturally specific; and the relationships between ritual aesthetics, popular entertainment and religion, and sports and theatre and dance. The volume brings together essays from leading anthropologists, artists and performance theorists to provide a definitive introduction to the burgeoning field of performance studies. It will be of value to scholars, teachers and students of anthropology, theatre, folklore, semiotics and performance studies.

The essays collected in this book represent Schechner s lifetime in performance studies. Political theatre, the avant garde, the secular and sacred rituals of performance, the nature of belief and its suspensions in theatre, aesthetics, performance theory, and performance studies have been his recurring subjects even as his knowledge has changed and deepened from seeing performances of all kinds all over the world. So he is in a position to compare the incomparable Yaqui and Ramlila, dixi and namahage, in a manner that furthers the study of ritual and indicates the ways performance is similarly and differently imbricated in different communities. Schechner has also learned that the avant garde is more than a historical occurrence localized in, or originating in, a single culture as a particular kind of articulation of the traditional and the oral. The range and depth of Schechner s scholarly endeavour informed by his artistic practice has led him to think about the deep structure of performance and theorize its construction across cultures. This confluence of practice and scholarship, where each realm wholly informs the other, is second only to Schechner s far ranging contact with diverse types of performance in generating his exceptional thinking on the meaning and importance of performance as the paradigm for the twentieth and twenty-first centuries. Richard Schechner is a theatre director, author and teacher. He founded The Performance Group and East Coast Artists. He has directed plays, conducted performance workshops and lectured in Asia, the Americas, Australia and Europe. His books include Performance Studies An Introduction, Performance Theory, and Between Theatre and Anthropology. He is University Professor and Professor of Performance Studies at the Tisch School of the Arts, New York University.

Richard Schechner is a pioneer of Performance Studies. A scholar, theatre director, editor, and playwright he is University Professor of Performance Studies at the Tisch School of the Arts at New York University and Editor of TDR: The Journal of Performance Studies. He is the author of Public Domain (1969), Environmental Theater (1973), The End of Humanism (1982), Performance Theory (2003, Routledge), Between Theater and Anthropology (1985), The Future of Ritual (1993, Routledge), and Over, Under, and Around: Essays on Performance and Culture (2004). His books have been translated into French, Spanish, Korean, Chinese, Japanese, Serbo-Croat, German, Italian, Hungarian, Bulgarian and Polish. He is the general editor of the Worlds of Performance series published by Routledge and the co-editor of the Enactments series published by Seagull Books. Sara Brady is Assistant Professor at Bronx Community College of the City University of New York (CUNY). She is author of Performance, Politics and the War on Terror (2012).

The SAGE Handbook of Performance Studies brings together, in a single volume, reviews of the major research in performance studies and identifies directions for further investigation. It is the only comprehensive collection on the theories, methods, politics, and practices of performance relating to life and culture. Edited by D. Soyini Madison and Judith Hamera, this Handbook serves scholars and students across the disciplines by delineating the scope of the field, the critical and interpretive methods used, and the theoretical and ethical presumptions that guide work in this exciting and growing area.

How have theatre and performance research methods and methodologies engaged the expanding diversity of performing arts practices? How can students best combine performance/theatre research approaches in their projects? This book's 29 contributors provide hands-on answers to such questions. Challenging and debating received research wisdom and exploring innovative procedures for rigorous enquiry via archives, technology, practice-as-research, scenography, performer training, applied theatre/performance, body in performance and more, they create a focussed compendium of future research options.