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Being Doing Showing Doing Explaining "showing Doing" |
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referring back to oneself or itself brechtian |
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physical, verbal, or virtual actions that are not-for-the-first time; that are prepared or rehearsed. A person may not be aware that she is performing a strip of restored behavior. Also referred to as twice behaved behavior. Allan Kaprow |
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Eight Kinds of Performances |
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1. Every day life 2. in the arts 3. in sports and other popular entertainments 4. in business 5. in technology 6. in sex 7. in ritual-sacred and secular 8. in play |
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performances maintain a clearly marked boundary between the world of the performance and everyday reality |
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performances intentioanlly blur or sabotage that boundary |
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a tenet of quantum mechanics proposed by Werner Heisenberg in 1927 which states that the measurement of a particle's position produces uncertainty in the measurement of a particle's momentum or vice-versa. While each quantity may be measured accurately on its own, both cannot be totally accurately measured at the same time. The uncertainty principle is closely related to the Heisenberg effect which asserts that the measurement of an event changes the event. |
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Seven Functions of Performance |
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1. To entertain 2. To make something that is beautiful 3. to mark or change identity 4. to make or foster community 5. to heal 6. to teach, persuade, or convince 7. to deal with the sacred and/or demonic |
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something produced to please a public |
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collective memories encoded into actions |
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those associated with, expressing, or enacting religious beliefs. it is assumed with, praying, or otherwise appealing to supernatural forces. |
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a period of feasting and revelry which precedes the start of Lent on Ash Wednesday. The term "carnival" includes, but is not limited to, Mardi Gras celebration. (both secular and sacred rituals) |
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Rituals and Ritualizing can be understood as... |
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1. Structures 2. Functions 3. Process 4. Experiences |
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What rituals look and sound like, how they are performed, how they use space, and who performs them |
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What rituals accomplish for individuals, groups, and cultures |
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the underlying dynamic driving rituals; how rituals enacts and bring about change |
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what it's like to be "in" a ritual |
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rituals and performance studies |
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1. ritual as action, performance 2. human and animal rituals 3. rituals as liminal performance communitas and anti-structure 5. ritual time/space 6. transportations and transformations 7. social drama 8. the efficacy-entertainment dyad 9. origins of performance 10. changing or inventing rituals 11. using rituals in theatre, dance, and music |
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an ethological term indicating how an animal communicates through movements, postures, sounds, and faces that it is happy, angry, sad, etc. |
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Qualities all rituals share |
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some ordinary behaviors (movement calls) are freed from their original functions; the behavior is exaggerated and simplified; movements are often frozen into postures; movements and calls become rhythmic and repetitive conspicuous body parts for display develop, such as the peacocks tail and moose's horns. in humans these are artificially provided-uniforms, costumes, masks, sound-makers, etc the behavior is "releasing mechanisms" (stimuli releasing conditioned responses) |
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a message that refers back to itself. For example, a message that says "this is a message". A Metamessage of a prayer would be praying in such a way that everyone knows, "now I am praying". The idea is based on Gregory Bateson's notion of "metacommunication" |
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a threshold or sill, an architectural feature linking one space to another - a passageway between places rather than a place itself. A limen is often framed by a lintel, which outlines the emptiness it reinforces. In performance theory, "liminal" refers to "in-between" actions or behaviors, such as initiation rituals. (Turner) |
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Victor Turners coinage to describe symbolic actions or leisure activities in modern or postmodern societies that serve a function similar to rituals in pre-modern or traditional societies. Generally speaking, liminoid activities are voluntary, while liminal activities are required. Recreational activities and the arts are liminoid. ( Turner) |
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comes in "normative" and "spontaneous". Normative is forced as in receiving Eucharist. Spontaneous just happens, like when you know what the rest of your team is thinking (Turner) |
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Four phases of social drama |
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Breach Crisis Redressive Action Reintegration (turner) |
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a breach is when a particular event breaks open an incipient situation that when activated threatens the stability of a social unit |
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widening of the breach into increasingly open or public displays |
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what is done to deal with the crisis. to resolve or heal the breach |
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resolution of original breach |
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Difference Between Aesthetic and social dramas |
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Aesthetic dramas are fiction, predetermined. Social Drams happen in the hear and now |
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European philosophical movement originating in the eighteenth century but continuing to the present championing rationality, empirical reasoning, the rule of law both natural and human, and universal ethical, political, aesthetic and scientific values |
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as theorized by Sigmund Freud, thoughts, feelings, impulses, or memories of which we are not aware, and over which we have no or little control. the unconscious manifests itself in dreams, as slips of tongue, forgetting, compulsive behavior, and the like |
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Seven Ways to approach Play |
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1. Structure 2. Process 3. Experience 4. Function 5. Evolutionary, species and individual development of play 6. ideology 7. Frame |
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an indian philosophical concept of existence as play where boundaries seperating "real" and "illusions." "true" and "false," are continuously shifting and are wholly permeable. The notion that life is a game, a dream a sport, a drama. |
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"playing with fire" " breaking the rules" "getting away with murder" Playing that emphasizes risk, deception, and sheer thrill |
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