1. Performance Studies: Seminar in English Week 5 Ch. 3-2 Ritual Ch. 4-1 Play Iris Tuan

2. Dionysus  Discussion on Tadashi Suzuki’s “Dionysus”  Japanese Nõ and Kabuki  Slow motion  Emphasis on the low body  Focus on actors’ training  Similar to Jerzy Grotowski’s method  Intercultural Theatre

3. The Pig-Kill Dancing at Kurumugi  A festival scene (p. 69)  Not for a fictional role in a play, but for a life role  From Fighting to Dancing  Difference between aesthetic dramas and social dramas (p. 70)

4. The Efficacy-Entertainment Dyad  Efficacy and entertainment are not binary opposites  The basic polarity is between efficacy and entertainment, not ritual and theatre. (p. 71)  Origins of Performance—ritual or what?  Rituals provide stability. (p. 72)  Individual artists since the 1960s have taken to inventing rituals.  E.g. Anna Halprin (p. 73)

5. Using Rituals in Theatre, Dance, and Music  History of importing “authentic rituals” and showing them at Colonial Expositions, World Fairs, and amusement parks (p. 74)  Martha Graham, Doris Humphrey—American modern dancers  Antonin Artaud—Theatre of the Cruelty  Jerzy Grotowski—Toward a Poor Theatre (p. 76)  Philip Glass cooperated with Robert Wilson (p. 76)

6. Play  Playing—not for real  Play is like ritual at the heart of performance (p. 79)  E.g. Shakespeare’s Gloucester’s lines in King Lear  Victor Turner—“Playfulness is a volatile, sometimes dangerously explosive essence” (p. 80)

7. Return of the Repressed  The modern philosophers may react in two ways  The case of Kent  The case of Nietzsche, Heidegger, and Derrida (p. 80)  In Indian philosophy, play is the very ground of existence

8. The Joker in the Deck  The Rule of the law versus the throw of the dice  1. rule-bound  2. Nietzschean playing  Some qualities of playing—  1. Can be physically and emotionally dangerous  2. As in fantasy or “kidding around”  3. Anti-structural

9. Seven Ways of Approach Play  1. Structure  2. Process  3. Experience  4. Function  5. Evolutionary, species, and individual development of play  6. Ideology  7. Frame

10. Types of Playing  Invisible Theatre  Augusto Boal  Political meaning  4 types of playing  1. competition  2. chance  3. mimicry or simulation  4. dizziness

11. Play  Playing insists of actions and reactions  E.g. Bull-fight  Play acts often serve multiple, contradictory purposes simultaneously (p. 86)  Infinite and infinite games (p. 87)  Flow  Transitional Objects, Illusions and Culture

12. Homework  1. Recording homework  2. Watch “Othello”  3. Finish reading the teaching materials  4. 1-page preview paper