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Performance Studies Week 12 Finish Chapter 6-2 Performing (pp. 180-187) Chapter 7-1 Performance Processes (pp. 188- 208) Iris Tuan.

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Presentation on theme: "Performance Studies Week 12 Finish Chapter 6-2 Performing (pp. 180-187) Chapter 7-1 Performance Processes (pp. 188- 208) Iris Tuan."— Presentation transcript:

1 Performance Studies Week 12 Finish Chapter 6-2 Performing (pp ) Chapter 7-1 Performance Processes (pp ) Iris Tuan

2 Main Ideas of Chapter The Earliest Performance 2. Performance Process as a Time-Space Sequence 3. Proto-performance 4. Performance 5. Aftermath

3 The Earliest Performance? Paleolithic times (20,000-30,000) years before the present The caves of southwest France and northern Spain (p. 189) The paleolithic cave art of France and Spain was not meant to be viewed as in a museum But to surround or be part of performing

4 Performance Process as a Time-Space Sequence Composed of (1) proto-performance, (2) performance, and (3) aftermath (p. 191) Definition of Proto-performance— “A source or impulse that gives rise to a performance; a starting point” (191). Proto-performance: 1. training 2. workshop 3. rehearsal

5 Performance 4. warm-up 5. public performance 6. events/contexts sustaining the public performance 7. cooldown

6 Aftermath 8. critical responses 9. archives 10. memories (p. 191) We will discuss the details in this part next week in the contents of Chapter 7-2

7 Performance Processes Can also be studies as interactions Among 4 types of players: 1. sourcers 2. producers 3. performers 4. partakers (p. 191)

8 Proto-Performance Eugenio Barba calls the “pre-expressive”—A “proto-p” may even be a certain way that a performer makes her body into something “not ordinary,” something special for performing (191) Barba’s “pre-expressivity”: Their use of accuturation technique has inspired codified theatre forms (192) Zeami Motokiyo, the foremost fighre in Japanese noh theatre

9 A Note on “Text” Poststructuralists such as Derrida and interpretive anthropologists such as Geertz consider culture itself as a text that can be read (192). E.g. Susan Foster’s book Reading Dance examines performances and pro- performances as texts. E.g. Heiner Müller’s Hamletmachine

10 Training Frequently, formal and informal training co- exist. (p. 194) Formal training: Sometimes apprenticeship training is combined with classroom training (p. 194) E.g. The kathakali training in India (p. 195) Informal training: is considered to be successful when the trainee begins to practice on his own (p. 194) E.g. Training for trance dancing in Bali (p. 195)

11 Imitation as a Way of Acquiring Performance Knowledge Stanislavsky was struggling against mechanical and declamatory acting. (p. 198) Today’s people recognize that realism and naturalism are styles as much as kathakali or Yoruban dancing are. Even everyday life consists of “twice-behaved behaviors” By imitation, learners acquire through practice an organic mastery of the craft that underlies every art

12 Workshop The RSVP Cycles Anna Halprin, Lawrence Halprin, and Jim Burns R: Resources S: Scores V: Valuaction P: Performance

13 Rehearsal Rehearsals operate differently and at a different level than workshop. Rehearsing: the process of building up specific blocks of proto-performance materials into larger sequences of actions assembled into a whole, finished performance. (202) David Selbourne—”Creative Moments During Rehearsal” Ray Birdwhistell—”Graceful Behavior” (p. 203) Eliminating “Noise,” Creating Dance UCLA Moot Court Handbook (p. 204)

14 Warm-Up & Public Performance Every performance is immediately preceded by a warm-up E.g. some lengthy as at the Institutional Church E.g. some brief and hardly noticeable, as when odissi dancer Sanjukta Panigrahi made a few solemn gestures to the statue of the god Jagganath What constitutes a public performance? ( ) Watch John Cage and Merce Cunningham’s Points in Space Discussion on the performance & the Wooster Group Annabelle Melzer— “Ubu Roi Opens, Audience Riots”(p. 208)

15 Review, Homework & Preview 1. The Earliest Performance 2. Performance Process as a Time-Space Sequence 3. Proto-performance 4. Performance Homework—record “Proto-Performance p Preview—Ch. 7-2


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