RC Series Bundle: Performance Theory (Routledge Classics) by Richard Schechner

By Richard Schechner

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By Richard Schechner

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There are no genetic links between or within cultures that explain the diffusion or coincidence of cultural traits. Influences occur and cultural development follows patterns not yet clearly understood. In artistic matters – where technology as such is usually not so important – there is no such thing as accumulation. Artists, when they know the past, pick and choose what materials they want to use. They often do not build according to generally agreed-upon rules. The twentieth century has seen in the west an awakened approaches 13 14 15 16 17 interest in “primitive” art forms.

77 D) dating from the first half of the seventh century bce. Most of our evidence comes from the fifth century: the epoch of Aeschylus, Sophocles, Euripides, and Aristophanes. As A. W. Pickard-Cambridge notes (and my facts are taken from his Dithyramb, Tragedy, and Comedy, 1962): “The attempts to throw light upon the original character of the dithyramb by references to the derivation of the name have so far led to no certain results” (p. 7). This observation regarding philology is crucial because Pickard-Cambridge also states: “The dithyramb may be very old if the philological indications are to be trusted” (p.

The form of a ritual is parentally determined by tradition. . Some formal rituals of special historical or anthropological interest have two phases: 1) a phase in which transactions are carried on under rigid parental strictures, 2) a phase of parental license in which the child is allowed more or less complete transactional freedom, resulting in an orgy. This fits neatly with my contention that ritual and play join in crucial ways. 24 Kaprow’s works often extend in time and space, but still there are boundaries.

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