By Sally Banes, Andre Lepecki
This ground-breaking anthology is the 1st to be devoted to assessing seriously the position of the human sensorium in functionality.
Senses in Performance offers a multifaceted method of the methodological, theoretical, functional and historic demanding situations dealing with the student and the artist. This quantity examines the delicate activities of the human senses together with style, contact, scent and imaginative and prescient in every type of performances in Western and non-Western traditions, from ritual to theatre, from dance to interactive structure, from functionality artwork to ancient opera.
With eighteen unique essays introduced jointly by way of a world ensemble of major students and artists together with Richard Schechner and Philip Zarrilli. This covers quite a few disciplinary fields from serious reports to functionality reviews, from meals experiences to ethnography from drama to architecture.
Written in an obtainable means this quantity will attract students and non-scholars drawn to Performance/Theatre reports and Cultural Studies.
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Extra info for The Senses in Performance
This despite the fact that the exterior manifestation of the interior process is different. (Zarrilli 1990: 143) I could cite many more examples, but it all comes down to what Zarrilli so nicely summarizes: In all such precise psychophysical moments, the “character” is being created – not in the personality of the actor but as an embodied and projected/energized/living form between actor and audience. ” The “power of presence” manifest in this stage other, while embodied in this particular actor in this particular moment, is not limited to that ego.
Origins of English Words: A Discursive Dictionary of Indo-European Roots. Baltimore: Johns Hopkins University Press. Spariosu Vatsyayan, Kapila. 1996. Bharata: The Natyasastra. New Delhi: Sahitya Akademi. W. 1971. Playing and Reality. London: Tavistock. Zarrilli, Phillip. 1990. ” In By Means of Performance, edited by Richard Schechner. notes 1 At the very start of the text, Bharata claims for the NS the status of a veda – the most sacred of ancient Indian texts. This is not all that unusual. Such claims to being the “fifth veda” were used to validate and strengthen a text.
These sites – aside from rock concerts, raves, and sports matches – are more in the domain of performance art. In early performance art there were Carolee Schneemann, Allan Kaprow, Shiraga Kazuo, Hermann Nitsch, Chris Burden, Stelarc, Paul McCarthy, and others. , all of whom insisted on making “the body” explicit (see Schneider 1997; Jones 1998). Their work began to elide differences between the interior and the exterior; to emphasize permeability and porosity; to explore the sexual, the diseased, the excretory, the wet, and the smelly.
The Senses in Performance by Sally Banes, Andre Lepecki