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v

List of Figures vii

Series Editors’ Preface viii

Acknowledgments ix

Notes on Contributors x

Introduction: The Rise of Performance Studies 1James Harding and Cindy Rosenthal

Part 1 Performance/Theatre/Studies

1 Performance Studies and the Enhancement of Theatre Studies 13 Marvin Carlson

2 In Defense of the String Quartet: An Open Letter to Richard Schechner 23

Stephen Bottoms

3 Experimenting with an Unfinished Discipline: Richard Schechner, the Avant-Garde and Performance Studies 39

James M. Harding and Cindy Rosenthal

Part 2 Performance Studies Genealogies

4 Wayang Studies? 67 Paul Rae

5 Today I Am a Field: Performance Studies Comes of Age 85 Henry Bial

6 Richard Schechner and Performance Studies in China 98 Yu Jiancun and Peng Yongwen

7 Australian Performance Studies Marginally Off Centre 118 Peter Eckersall

Part 3 Working with Richard

8 Reactuals: From Personal to Critical and Back 135 Rebecca Schneider

9 Fanning the Flames: Richard Schechner’s TDR 152 Mariellen R. Sandford

10 Liminal Richard: Approaches to Performance Studies 162 John Emigh

Contents

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11 The Broadest Spectrum of Pluralities: Performance Studies, Theatre Practices, Theatre Histories, and Beyond 177

Phillip Zarrilli

Part 4 Practicing Performance: Schechner among the Performers

12 Richard Schechner 193 Judith Malina

13 Joan MacIntosh: Interview, July 2008 196 Cindy Rosenthal

14 Elizabeth LeCompte: Interview, June 2008 213 Cindy Rosenthal

15 For Richard 220 Anna Deavere Smith

16 Performing Against the Backdrop of the War on Terror 227 Guillermo Gómez-Peña

Part 5 Engaging Dialogue: Schechner as Critical Interlocutor

17 Trauma as Durational Performance 237 Diana Taylor

18 Medical Clowning and Performance Theory 248 Atay Citron

19 Restored Restored Behavior or the Emperor of California Roll: 1989–90 Japanese Imperial Rites of Funeral and Enthronement 264

Takahashi Yuichiro

20 “Deep Play, Dark Play”: Framing the Limit(less) 275 Joseph Roach

Index 284

vi Contents

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1

Introduction: The Rise of Performance StudiesJames Harding and Cindy Rosenthal

Conceptualized as part retrospective and part theoretical inquiry, The Rise of Performance Studies: Rethinking Richard Schechner’s Broad Spectrum is deeply indebted to the work of Richard Schechner. At one level, the essays in this anthology investigate how, over the last quarter-century, an increasingly complex understanding of theatrical practice has encouraged the kind of retheorizing of performance as a concept that has given rise to performance studies as a distinct area of cultural inquiry. But while the paths from the concept of theatre to that of performance are multiple, few scholars have positioned their work more consistently, controversially or consequently than Richard Schechner has within the pivotal debates that have defined performance studies. Indeed, there is hardly an aspect of performance stud-ies that does not bear his imprint in some form. Now in his mid-seventies, Schechner remains one of the most active and significant figures in the dis-cipline, and the scope of his contributions to performance studies not only spans some four decades worth of work; it encompasses Schechner’s work as a theorist, editor, teacher, and director as well. The working thesis of this col-lection is thus that any consideration of the emergence of performance stud-ies as a discipline would be incomplete without a thorough assessment not only of how, as an individual practitioner/scholar, Schechner has negotiated the path from theatre to performance, but also of how those negotiations have generated some of the most influential, if not defining, statements in the field of performance studies itself. The collective sense among the contributors, in short, is that a book assessing Richard Schechner’s contribu-tions to performance studies is long overdue.

The breadth of Schechner’s work is matched only by the diverse ways that this has influenced individual scholars and practitioners around the world. The variety of contributions in the book directly relates to that influ-ence, and this is in no small part due to the fact that his books have been translated into Spanish, Korean, Chinese, Japanese, French, Slovak, Polish, Serbo-Croatian, German, Italian, Hungarian, Dutch, and Bulgarian. It is not

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2 The Rise of Performance Studies

just the sheer quantity of languages represented here that reflects the wide audience for Schechner’s performance scholarship and practice. Generations of spectators and participants across the globe have had first-hand experi-ence of Schechner’s work as a director and as a workshop leader. In order to give readers some sense of this side of Schechner as well, we have sought contributions that, either individually or collectively, address the range of Schechner’s artistic and intellectual activities.

Considering the depth of Schechner’s impact on the field, our goal as edi-tors not only has been to include an internationally diverse group of scholars and artists, but also to include a stylistically diverse collection of writings that demonstrate the different ways that Schechner’s work has impacted scholars and artists. Important contributions in this regard include Atay Citron’s account of how medical practitioners have used performance studies in the development of new methodologies for handling hospital patients in Israel. From a cultural perspective, we would also emphasize the importance of Peng Yongwen and Yu Jiancun’s analysis of Chinese critics’ and specta-tors’ responses to Schechner’s production of Hamlet: That is the Question in Shanghai, as well as Takahashi Yuichiro’s retheorizing of the notion of restored behavior in relation to Japanese culture. There are essays from schol-ars such as Stephen Bottoms and Paul Rae who engage Schechner in debate, and also responses from artists such as Guillermo Gómez-Peña who con-tributed performance texts dedicated to Schechner. Anna Deavere Smith’s personal reflection imagines her relationship with Schechner as familial.

What the chapters in this collection tell us is that Schechner elicits very different kinds of responses from different individuals – based in part on the context, history, and dynamic of the connection between the writer and Schechner. Some of the scholarly essays in the volume are quite personal, expressing the point of view of a scholar writing to and/or about a men-tor. Some reflect the perspectives of one colleague writing about another. Rebecca Schneider’s, Henry Bial’s, John Emigh’s and Phillip Zarrilli’s essays include negotiating personal relationships with Schechner that impacted their choices and their development as scholars, practitioners, and teachers. When he submitted his essay to the volume, Emigh wrote a note explain-ing, “Given my 45-year relationship with Richard I found it necessary and effective to adopt an even more personal voice in writing this essay than for many others I have written. Since that voice is more personal, I am, no doubt, more attached to the essay than usual.”1 Personal attachments aside, what Emigh’s comments call attention to is the frequency with which the personal and the critical can converge and indeed coexist in the practice of what performance studies scholars often refer to as performative writing – a point that Rebecca Schneider addresses in her essay as well.

If nothing else, the variety of essays in this collection indicate that over the course of five decades, there have been many Richard Schechners. He has demonstrated a rare ability and willingness to evolve, and if one wants


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Introduction 3

to understand the diversity of responses his work has elicited, then it is essential to understand who he has been, who he has become, and who he might yet prove to be. Whether one speaks of many “Schechners” or simply of the many sides of a complex scholar-practitioner, Schechner has demonstrated a seemingly inexhaustible commitment to forging a new and hybrid model for theatre and performance scholars in the academy. This commitment radiates through his prodigious accomplishments as a scholar, an editor, a teacher, and as a practitioner.

Richard Schechner: a chronological overview

Born and raised in New Jersey in a middle-class Jewish suburban milieu, Richard Schechner received his BA in English from Cornell University where he edited and wrote theatre reviews for The Cornell Daily Sun. He graduated with honors in 1956. During the summers of 1957, 1958 and 1961, Schechner directed experimental theatre in Provincetown, Massachusetts where he was cofounder and co-artistic director of the East End Players. The time Schechner spent in Provincetown was of great importance to him – important enough, it is worth noting, that in the summer of 2009 he returned to Provincetown and visited the house belonging to Mary Vorse, a one-time suffragist and a member of the Provincetown Players from whom Schechner had rented a room 51 years earlier.2 The value that Schechner places on this period in his life is understandable. In his work with the East End Players, Schechner directed a 1958 production of his own play, Blessing the Fleet, a realistic drama about fishermen in New Bedford, Massachusetts. In 1961, a review of his production of Ionesco’s “The Lesson” stated: “At all times it puts the action right next to you. You do not feel you are just looking at it; you feel you are visiting in it – usually when you wish you were safely in a back row.”3 It is hard to miss the way that these comments foreshadow the experiences that spectators have recounted time and again about Schechner’s environmental theatre performances later in the decade.

Schechner completed an MA in English at the University of Iowa in 1958 where he submitted another original play, Briseis and the Sergeant, as his thesis. This was a fantasy about a young woman (Aeneas’s lover in The Iliad) who becomes involved with a sergeant from a modern war. The play was later directed at Tulane University, by faculty member and designer Hank Hendrickson.4 Tulane University was to play a pivotal role in Schechner’s career, but not until Schechner had finished a stint in the military.

Given Schechner’s commitment to peace activism, it may come as a sur-prise to many that once he had competed his MA, he asked to be drafted into the army immediately. Schechner spent the next two years in the First Armored Division of the Strategic Army Corp and was stationed in Louisiana and Texas. During this time he continued to write and direct plays, but the significance of this period had much to do with the conscious choice that


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Schechner made to use military service as a way to break out of his upper middle class (and mostly Jewish) background. He had the opportunity to train as an officer, but chose instead to serve as an enlisted man – a choice that placed him within a community that in terms of class, culture, and location was radically different from what he had known in the early part of his life. Since this choice brought him to the South, Schechner gathered first-hand knowledge of the civil rights movement that he had only really been able to support in the abstract while he was a student at Cornell. Schechner describes his time in the army in the deep South as a springboard to the crucial work that followed. While his military service brought him into contact with people whom he would not have met otherwise, it also led him to New Orleans, to Tulane University, to the cultural milieu of the civil rights movement, and to the Free Southern Theater.5

After he was discharged from the army in 1960, Schechner began his PhD in Theatre at Tulane University. During this time, he spent eight months in Paris conducting research before completing a dissertation on Ionesco in 1962. It is worth noting that with his dissertation, Schechner displayed a tendency that has been a hallmark of his entire career. His dissertation followed his having earlier directed Ionesco’s work in Provincetown, and, as was the case with his dissertation, Schechner has repeatedly drawn sig-nificant connections between his performance practice and his scholarly endeavors. At Tulane, those endeavors were quickly expanding in ways that profoundly affected the subsequent development of performance studies as an emergent discipline. Having completed his dissertation, Schechner was offered a position on the faculty at Tulane. The offer included an invitation to be the editor of The Tulane Drama Review, which under Schechner’s lead-ership would ultimately become TDR: The Journal of Performance Studies.

As a Northerner coming to the South in the early 1960s, Schechner was thrust into a crucial battleground of the civil rights movement. His political consciousness intensified as did his own commitments to civil rights and anti-war activism. Schechner notes that this activism was crucial to his evo-lution as an artist, and in this respect, it is not difficult to recognize a parallel between his socio-political commitments to changing the status-quo and his dwindling interest in conventional theatre. Indeed, several contributors to this volume have noted (see especially Harding and Rosenthal, Emigh, and Sandford) that the New Orleans period was pivotal in Schechner’s develop-ment as a practitioner, teacher, scholar, and editor. Shortly after becoming a member of the faculty at Tulane, Schechner was invited to become a pro-ducing director of the Free Southern Theater (1963–66), which was directly connected to the African-American freedom movement. He was also one of three founding directors of the New Orleans Group (1965–67). Around this time, Schechner also became involved with anti-Vietnam War activism and, in conjunction with the New Orleans Group, began experimenting with Happenings and guerrilla theatre.


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Introduction 5

In 1967, Schechner left Tulane University (he was one of five faculty who resigned in a dispute with the administration) and accepted a position as full professor at NYU. This move roughly coincided with his departure from the Free Southern Theater. Although he left much behind in New Orleans as he began anew in New York, one important thing that he took with him was The Tulane Drama Review, which now became The Drama Review. In his early years at NYU, Schechner continued to move The Drama Review as well as his own theatrical practice toward works that emphasized avant-garde and experimental performance. Crucial in this regard were interviews that Schechner published with key figures of the period, including Allan Kaprow, John Cage, and Judith Malina and Julian Beck (whom he famously interviewed through a megaphone while they were occupying their theatre in the midst of a conflict with the IRS), and Jerzy Grotowski, whose work-shop at New York University Schechner attended during his first semester as a member of the faculty. During that first year at NYU, Schechner also founded The Performance Group and with this radical collective – which included Joan MacIntosh and later, Elizabeth LeCompte, both contributors to this volume – he developed a psycho-physical acting technique and further refined the strategies of environmental theatre he had begun to develop with the New Orleans Group.

The Performance Group achieved international recognition in 1968 with its highly controversial and now legendary production of Dionysus in 69. This production, which many view to be the quintessential environmental theatre piece, exploded the boundaries between performers and spectators. But Schechner’s work with The Performance Group included other sig-nificant accomplishments as well. The Performance Group produced eight other environmental theatre works including the group-devised Commune (1970–72), Sam Shepard’s The Tooth of Crime (1972–74) and Bertolt Brecht’s Mother Courage (1975–77) at the Performing Garage in Soho, New York. The company also toured extensively in Europe and throughout India (see Harding and Rosenthal’s essay and the interviews with MacIntosh and LeCompte for multiple, differing vantage points on this period).

Beginning in the early 1970s, Schechner’s investigations and analysis of the extensive interrelationships between theatre theory and practice and the social sciences profoundly impacted his teaching, scholarship, editorial, and performance work. This new emphasis on ritual and theatre anthropology, and especially the interconnections and distinctions between “social drama” and “aesthetic drama,” evolved through Schechner’s fruitful collaborations with his friend, the cultural anthropologist Victor Turner whom Schechner first met in 1977, although at the time of their meeting Schechner was already familiar with Turner’s work. The impact that these two theorists had on one another and on the development of performance studies as a discipline is too substantial to discuss in depth here, but it was signifi-cant enough that scholars like Peggy Phelan and Jon McKenzie have cited


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Schechner and Turner as the joint fathers of performance studies. Suffice it to say that Schechner became increasingly interested in research and writing about intercultural rituals and non-Western forms, especially non-text based performance events, such as the coming of age rituals he and MacIntosh witnessed on their visit to Papua New Guinea in 1971.

The work in India had a particularly profound impact on Schechner, beginning with his first trip in 1971. It was there he studied Hatha Yoga and converted to Hinduism in 1976. As the cultural and international scope of Schechner’s interests continued to expand, the work of The Performance Group went in different directions. After touring Mother Courage in India, Performance Group members Elizabeth LeCompte, Spalding Gray, Ron Vawter and others returned to the United States and began to work inde-pendently on new projects in the Performing Garage. In 1980 LeCompte became the director of the company, which was renamed the Wooster Group. Schechner moved on, having set the stage through his work with The Performance Group for the emergence of the Wooster Group, which many critics argue is the most important avant-garde theatre in the United States during the last two decades of the twentieth century.

By this time, Schechner was actively teaching performance theory at NYU and was among the faculty members who successfully advocated that the Graduate Drama Department be renamed the Department of Performance Studies (1980). At the time of this change, Schechner had already published Performance Theory (1976) and was working on the essays that became the chapters of his pivotal study Between Theater and Anthropology (1985). These books followed his classic studies like Environmental Theater (1973), which documented his work with the New Orleans Group and The Performance Group. Although Schechner was not to found another theatre company until 1991 when he founded East Coast Artists, he continued to direct intercultural/international works such as Richard’s Lear (see Phillip Zarrilli’s essay in this book), a Hindi version of The Cherry Orchard in India (1983), and Sun Huizhu’s Mingri Jiuyao Chu Shan (Tomorrow He’ll Be Out of the Mountains, 1989) at the Shanghai Peoples Art Theater. Schechner also directed Ma Rainey’s Black Bottom in South Africa (1992) as well as a production of the Contemporary Legend Theater’s Oresteia in Taiwan (1994). Throughout this entire period Schechner attended international conferences, lectured, and led workshops in places like China, India, and Japan, further cultivating interest in the emerging discipline of performance studies.

Although each of the above-mentioned productions that Schechner directed are significant in their own right, his production of Sun Huizhu’s Mingri Jiuyao Chu Shan (Tomorrow He’ll Be Out of the Mountains) in 1989 merits a special note. This piece, which Schechner co-directed with Stephen Chan, was staged during the intense period of democracy activism most commonly associated with the events of Tiananmen Square. The piece itself, which was written by one of Schechner’s former students at NYU


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Introduction 7

(Sun Huizhu), was probably the last piece produced in China that offered a political critique of the Cultural Revolution. As the historical events of 1989 unfolded, Schechner was evacuated from Shanghai.6

The advent of the 1990s was marked by the first international performance studies conference celebrating the tenth anniversary of the NYU department in 1990. Schechner was instrumental in forging connections between per-formance studies departments internationally and in the creation of PSi, a world-wide organization devoted exclusively to performance studies that held its first conference in 1995, also at NYU. In terms of his work in the theatre, Schechner drew widely from diverse sources that included his knowledge of Indian theatre, his interest in neurobiology and even his lifelong fascina-tion with sports and sports figures, developing what in a revised edition of Performance Theory he called “rasaesthetics.” This led to workshops on the ras-aboxes, an integral training technique used by East Coast Artists. Schechner directed the company’s productions of Faust/Gastronome (1993) based on Goethe’s Faust, their version of Anton Chekhov’s Three Sisters that contained a provocative mix of theatrical styles and periods (1995–97), Hamlet (1999), and YocastaS (2003) and YocastaS Redux (2005), which Schechner co-wrote with Saviana Stanescu.

Since 2005, Schechner has been an Honorary Professor at the Richard Schechner Center for Performance Studies in Shanghai where he has directed several productions (all in Chinese) including Hamlet: That is the Question (2007), one of the topics discussed in Peng Yongwen and Yu Jiancun’s essay in this volume. Although Peng Yongwen and Yu Jiancun downplay the issue in their own account of Schechner’s adaptation of Hamlet, one of the more crucial aspects of that production was Schechner’s decision to cast Hamlet and Horatio as lovers. This relationship was overlooked by the Chinese press, who, interestingly enough, made no mention of the kiss on the mouth at Hamlet and Horatio’s first meeting.

In 2009 Schechner received an Honorary Doctorate from the Hong Kong Academy of Performing Arts and directed Lian Amaris’s Swimming to Spalding at Here in New York City. Schechner is a University Professor at Tisch School of the Arts, Professor of Performance Studies at NYU, and Editor of TDR. Schechner continues to write, edit, direct, lecture, conduct workshops, teach, and inspire.

The structure of this book

Although as editors we cannot claim to provide a comprehensive representa-tion of the multiple ways that Richard Schechner has influenced the field of performance studies, we have structured the book to address five key areas of that influence – areas that also highlight crucial dimensions of an exemplary career. In conceiving of the book’s structure and editing its contents we pay tribute to and honor Schechner and his work. Honor that is honest has to


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find a balance between the celebratory and the critical. Being honest about that balance, however, necessitates a recognition that the balancing point itself is subjective and shifts from person to person. Regardless of where individual readers might place that balance, we believe not only that read-ers of this collection will find the celebratory and the critical to be placed in a constructive dialogue, but also that this dialogue will leave readers with significant opportunities to discuss Schechner’s legacy further. It is a legacy that warrants far more assessment than we could provide here.

Since Schechner himself has been instrumental in negotiating the transi-tion from theatre to performance studies as well as exploring the concep-tual spaces between the two, the opening section of the book considers Schechner’s work in its relation to this fundamental transition. Part 1, “Performance/Theatre/Studies,” opens with Marvin Carlson’s account of how in the 1960s and 1970s the growing interest in global performance manifestations eclipsed traditional Western theatre models of research and helped to position Schechner as the most visible spokesperson for an alter-native paradigm that foresaw performance studies’ development as a disci-pline. Chapter 2 in this section is written as an “open letter” to Schechner by Stephen Bottoms, in which Bottoms takes issue with Schechner’s tendency to conceptualize models of performance studies in stark formulations that encourage questionable binaries between performance and drama. Part 1 ends with our own contribution to this collection, a study examining the ways in which Schechner’s enduring commitment to the avant-garde (both as a scholar and practitioner) has shaped, at times problematically, his con-ception of the evolving field of performance studies.

If the opening section of the collection considers the transition from theatre to performance studies, Part 2, “Performance Studies Genealogies,” engages in a critical dialogue that, from a global perspective, considers the significance of Schechner’s work while simultaneously resisting linear notions of the origins of performance studies as a field of inquiry. The section opens with Chapter 4, a study by Paul Rae, in which he circum-vents Western categorizations and, as an alternative to the broad spectrum approach, contextualizes performance as part of a multi-faceted framework inspired by the Indonesian puppet art, “Wayang.” Rae’s study is followed by Chapter 5 from Henry Bial that contextualizes performance studies within the framework of a cultural metaphor. Reflecting on Schechner’s work as a teacher and mentor, Bial likens the crucial breaks that gave performance studies independent standing as a discipline to the Jewish rite of passage into the complexities of adulthood. The third essay, Chapter 6, by Peng Yongwen and Yu Jiancun, offers a two-fold account of the impact of Schechner’s work in China. Their essay assesses the evolution of performance studies in China since the founding of the Richard Schechner Center for Performance Studies at the Shanghai Theatre Academy as well as the significance of Schechner’s recent production, Hamlet: That is the Question, in Shanghai. Peter Eckersall


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Introduction 9

concludes Part 2 with Chapter 7, an essay that offers a detailed analysis of the trajectory of performance studies in Australia. These final two essays describe how the discipline of performance studies has been pressured and transformed by shifting national, cultural, and economic realities.

Stepping back from the global concerns of the previous section, Part 3 of the book focuses on more local considerations, providing a critical forum for scholars whose understanding of Schechner’s work as a mentor, scholar, and practitioner is informed by their close personal interactions with him. Rebecca Schneider opens this section with Chapter 8, a theoretical essay that com-bines a critical discussion of performative writing with reflections on her per-sonal interactions with Schechner as a young student and performer, and this combination then serves as the basis for a critical reassessment of Schechner’s notions of “Actuals.” Following Schneider’s essay, Mariellen Sandford in Chapter 9 provides an account of Schechner’s work as the incendiary editor of TDR in a contribution that tightly weaves recollections of working with Schechner as TDR’s Associate Editor with an important critical survey of the pivotal writings that he has published in the pages of TDR. John Emigh’s essay, which as Chapter 10 follows Sandford’s, returns us to Schechner’s early days at Tulane where Emigh was his student and where, as Emigh notes in his essay, Schechner formulated many of the foundational concepts that would evolve into the performance theories for which Schechner is now well known. Finally, Phillip Zarrilli who, reflecting on his own work as an international performance practitioner and scholar, in Chapter 11 assesses the significance of six formative contexts where he interacted with Schechner personally or with his writing.

In Part 4 of the book attention turns to Schechner’s substantial connections with a variety of performing arts communities. The contributors here are but a small representation of the international artists whose work Schechner has supported as an editor and who view Schechner as a colleague and fellow artist. Neither The Living Theatre cofounder Judith Malina (Chapter 12) nor documentary theatre artist Anna Deavere Smith (Chapter 15) worked with Schechner as performers or collaborators, yet each recount interactions with Schechner and the role Schechner has played at important junctures in their lives. This section also includes two interviews with theatre artists that worked extensively with Schechner as members of The Performance Group, Joan MacIntosh (Chapter 13) and Elizabeth LeCompte (Chapter 14). Both provide rich accounts of what is arguably Schechner’s most famous work as a theatre practitioner. These interviews are followed in Chapter 16 by a series of brief texts by performance artist/cultural activist Guillermo Gómez-Peña that address the shift in performance contexts in the post-9/11 era. Gómez-Peña’s work has been published and featured frequently in TDR, under Schechner’s editorship.

The final section of the book, Part 5, contains four essays by scholars whose work involves a critical dialogue with key concepts drawn from a wide


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range of Schechner’s performance theories. In the first of these, Chapter 17, Diana Taylor explores the finer nuances of Schechner’s notion of “restored behaviour” while recounting a tour of a replica of Villa Grimaldi, Pinochet’s most infamous torture and extermination camp which was located on the outskirts of Santiago, Chile. The next two essays, Chapter 18 by Atay Citron and Chapter 19 by Takahashi Yuichiro, offer very different examples of how Schechner’s performance theories have shaped the understanding of performance practices in different cultural and historical contexts. In the concluding essay of the book, Joseph Roach examines the controversy that erupted around Aliza Shvarts, whose senior art project at Yale University cre-ated a media scandal because the project purportedly involved several delib-erately induced abortions. Considering this scandal in light of Schechner’s performance theories, Roach argues in Chapter 20 that it exemplifies a movement from “deep play” to “dark play.”

Clearly, the essays in this volume only touch upon the extensive influence that Schechner’s work has had on the development of performance studies as a discipline. If this anthology accomplishes nothing more than focus-ing attention on Schechner’s work as the discipline of performance studies begins to take stock of its own history, then it will have accomplished much. But it will have accomplished only part of its objective. To suggest the need to rethink Schechner’s “broad spectrum” is to acknowledge more generally that as a discipline performance studies has evolved to the point where it need no longer justify its existence through carefully constructed intellectual genealogies or pedigrees, but is now in a position to take stock of the historical significance of some of its primary players, and in the case of Richard Schechner, a galvanizing pioneer.

Notes

1. Email letter from Emigh to Harding and Rosenthal on 16 January 2010.2. Schechner discussed his perspective on his experiences in Provincetown in two

emails sent to Rosenthal, 24 June 2010.3. Robinson, James M., “Stage Provides Ionesco Treat,” in Provincetown Advocate,

6 July 1961, 9. In box 152, folder 15. 1961: Theatre Groups: East End Players. From the Richard Schechner Papers, Princeton University Manuscript Division.

4. Schechner provided this information on Briseis and the Sergeant in an email exchange with Rosenthal on 24 June 2010.

5. Email with Rosenthal: 24 June 2010.6. Email with Rosenthal: 2 July 2010.


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Page numbers shown in italics refer to figures.

Index

About Performance, 126, 132n35 “Body Weather in Central Australia,”

127House with an Open View, 275“Playing Politics,” 127

Abramovic, MarinaRhythms, 275, 276Adams, Franklin, 170, 249, 258Adams, Patch, 249, 258

see also Patch Adams (film)ADS, see under Australasian Drama StudiesAeschylus, 36, 171

Oresteia, 112AFS, 90Agnew, Vanessa, 136Ahmed, Sarah, 148n4Akihito, Emperor, 269, 270, 271, 273Albee, Edward, 28, 221, 222

Box, 28Who’s Afraid of Virginia Wolf, 152

Aliza, Hurricane, 280Alland, Alexander, 63n75Amaris, Lian

Swimming to Spalding, 7Amaterasu, 266–7, 268, 270, 273

Shrine of, 266, 271American Civil Liberties Union, 277American Society for Theatre Research,

20, 90, 93, 96American Theatre, 157Anand, Uma, 202Anderson, Laurie, 24Antithesis, 124APEC, see under Asia-Pacific Economic

CooperationAppel, Willa, 182

By Means of Performance: Intercultural Studies of Theatre and Ritual, 183, 190

Aristotle, 36, 147The Poetics, 165

Artaud, Antonin, 18, 26, 27, 43, 165, 172, 175

Theatre and its Double, 122Ashley, Wayne, 178, 179Ashton, Martha, 179Asia-Pacific Economic Cooperation, 67,

68, 78, 80, 84n38Asian Civilizations Museum, 67, 76Asian Society, 182Asmaradana, Gamelan, 76, 77Association for Theatre in Higher

Education, 16, 25, 90, 96, 1371992 conference, 24, 27, 30, 31, 58, 921994 conference, 88Performance Studies Focus Group,

87, 92ASTR, see under American Society for

Theatre ResearchATHE, see under Association for Theatre

in Higher EducationAthey, Ron, 90, 153Aurobindo, Sri, 201, 202Auslander, Philip, 31, 92, 159

Performance: Critical Concepts in Literary and Cultural Studies, 69, 82n23

Austin, J. L., 141, 199Australasian Drama Studies, 125, 126,

131n24Australasian Drama Studies Association,

97n25The Autobiography of Malcolm X, 43Awasthi, Indujah, 202Awasthi, Suresh, 51, 202

Ball, Bill, 221Barba, Eugenio, 24, 90, 177, 201, 202Barbe, Fran, 183Barthes, Roland, 147, 266, 269Bash, Micky, 254Bateson, Gregory, 188

Steps to an Ecology of Mind, 278“Theory of Play,” 169

Batra, Bindu, 55, 56Bausch, Pina, 24

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Index 285

Beaver College, 196Beck, Julian, 5, 117n14, 194Beckett, Samuel, 24, 25, 165, 171, 224

Waiting for Godot, 43, 47, 167, 187, 198Beijing Opera, 108, 113, 114, 115Beijing University, 100, 102Bell, Catherine, 85Benedict XVI, Pope, 277Berghaus, Günter, 45Berlant, Lauren, 148n5Berliner Ensemble, 50, 197Berne, Eric, 196

Transactional Analysis, 169Bharata Natyam, 177, 202Bial, Henry, 2, 8, 85

The Performance Studies Reader, 82n23, 95

Big Apple Circus, 251Black Arts Movement, 41, 44, 45Blau, Herbert, 182Bodden, Michael

Geez!, 186Bogart, Anne, 24Borenstein, Yosef, 251Borst, Steven, 145, 146, 210Bottoms, Stephen, 2, 8, 23, 95

“The Efficacy/Effeminacy Braid: Unpicking the Performance Studies/Theatre Studies Dichotomy,” 23

Playing Underground, 29Bourdieu, Pierre, 125Brecht, Bertolt, 25, 53, 54, 57, 58,

59, 124, 136, 167, 171, 172, 175, 205, 215

Berliner Ensemble, 50, 197Man Is Man, 165Mother Courage and Her Children, 5, 6,

47, 50–9, 62n57, 62n60, 165, 175, 177, 202, 205, 206–7, 210, 212, 219

Señora Carrara’s Rifles, 47, 48The Threepenny Opera, 221Verfremdungseffekt, 140

Brockett, OscarTheatre History, 184

Brook, Peter, 172, 221Orghast at Persepolis, 156

Brooklyn Academy of Music, 194Brown, Helen, 168Brown University, 155, 171Brown v Board of Education, 158

Buckley, William F.God and Man at Yale, 276

Burden, Chris, 276Shoot, 275

Burke, Kenneth, 165Bush, George H. W., 270Bush, George W., 67, 68, 72, 73, 76–7,

78, 79, 80, 227Bush, Laura, 67, 76Butler, Judith, 141, 159

Cage, John, 5, 40, 43Cakrabarty, Dipendu, 53, 56Calicut University, 178Callois, Roger, 169Cambridge University, 43, 45, 171, 172Campbell, Joseph

The Hero with A Thousand Faces, 165–6Campbell, Mary Schmidt, 82n24Carleton College, 164Carlson, Marvin, 8, 13, 39, 69, 90, 95

Performance: A Critical Introduction, 39, 81, 125

Case, Sue-Ellen, 277Central School of Speech and Drama,

185Centre for Performance Research, 183Chakrabarty, Dipesh, 136Chan, Stephen

Mingri Jiuyao Chu Shan (Tomorrow He’ll Be Out of the Mountains), 6, 110

Chaney, James, 163Charles, Prince of Wales, 271Chekhov, Anton, 31, 171, 221, 224

Three Sisters, 7Chekhov, Michael, 183

The Cherry Orchard, 6, 31China Theatre Publishing House, 100Chinese Street Opera, 75

The Chinese Theatre, 102Chinese Traditional Opera College

(Beijing), 102Christen, Kimberly, 252Christensen, Michael, 251Christie, Judie, 183Chrysanthemum Curtains, 265, 267Cieslak, Ryszard, 139, 198, 200Citron, Atay, 2, 10, 248City Lights Bookstore, 222, 224Clay, Buriel, 223


PROOF

286 Index

Clayburgh, Jim, 207Mother Courage, 210

Clough, Patricia, 148n5Clown Doctors International, 251,

263n7Coigney, Martha, 182Cold War, 72Comfort, Jane, 24Commercial Press, 99Connecticut College, 144, 145Connerton, Paul, 188

How Societies Remember, 142Conquergood, Dwight, 90, 91, 175Contemporary Legend Theatre

Oresteia, 6, 109–15Contemporary Theatre Review, 183Cook, Alexander, 136Corneille, Pierre

Le Cid, 165The Cornell Daily Sun, 3, 158Cornell University, 3, 4, 155, 158Corrigan, Robert W., 153, 154, 164, 196Cousins, Norman

Anatomy of an Illness, 249Coward, Noel, 224Cramphorn, Rex, 124Critical Art Ensemble, 155Crown Prince, 265, 267Crown Princess, 265, 267Cultural Revolution, 7, 109, 111

Daboo, Jerri, 190The Daily News, 213Dallas Morning News, 276Darden, Severn, 164Davis, Ossie

Purlie Victorious, 43, 47, 167Davis, Tracy C., 31, 156, 159

Cambridge Companion to Performance Studies, 82

de Certeau, Michel, 124Deleuze, Gilles, 148nn4–5Dent, Thomas, 224

The Free Southern Theater by the Free Southern Theater, 42, 46, 47

Derby, Doris, 41, 158Derrida, Jacques, 26, 27, 35, 37Desire Project, 167Diana, Princess of Wales, 271Dinshaw, Carolyn, 136

Getting Medieval: Sexual Communities Pre- and Post-Modern, 148n5

Distler, Tony, 175n1Dokkyo University, 120Dolan, Jill, 93, 96, 159

“Geographies of Learning: Theatre Studies, Performance, and the ‘Performative,’” 88

Drama, 110, 282“Drama, Dance and the Performing

Arts,” 32The Drama Review (TDR), 4, 5, 17, 39,

42, 89, 96, 99, 143, 147, 153, 164, 171, 203

see also TDR: The Journal of Performance Studies; The Tulane Drama Review

Dream Doctors, 248, 251, 254–63Dreher, Rod, 276, 280Drewal, Margaret Thompson, 150n23Duberman, Martin

In White America, 47, 167Dudi, 262Dukakis, Olympia, 198Dwyer, Paul

“Journey to Con-fusion,” 128Dylan, Bob, 37

East Coast Artists, 6Faust/Gastronome, 7, 142Hamlet, 7YocastaS, 7YocastaS Redux, 7

East End Players, 155Blessing the Fleet, 3

Eckersall, Peter, 8, 118, 131n8, 131n32, 132n44, 132n45

Ecological Body 188, 190Edinburgh, Duke of, 270Elam, Keir, 124Eliade, Mircea, 140, 143Emigh, Allison, 163, 164Emigh, John, 2, 4, 9, 138, 162, 179, 186

Masked Performance, 167Emperor, 264, 265, 266, 267,

268, 269, 270, 271, 272, 273, 274n14, 274n17

Empress, 267, 269, 270The Ends of Performance, 92, 101, 125Epstein, Paul, 170


PROOF

Index 287

Euripides, 171The Bacchae, 36, 165, 200Hecuba, 165Medea, 165The Trojan Women, 165, 182

Exeter University“The Changing Body,” 183Digital Archive, 183

Fallabella, Soledad, 237Feast of Ass, 252Feast of Fools, 253Fei, Faye C.

Chinese Theories of Theater and Performance, 186

Fensham, Rachel, 124, 128Fischer-Lichte, Erika, 95Flinders University, 121, 122, 123Foley, Kathy, 186Foreman, Richard, 29, 155Fox News, 277Fradenberg, Louise, 136, 148n5Fraser, Andrea

Untitled, 275, 276Freccero, Carla, 136Free Southern Theater (FST), 4, 5, 40–6,

47, 48, 50, 158, 160, 161, 164, 167, 168, 223

Freeman, Elizabeth, 136Freud, Sigmund, 196Frye, Northrop, 165FST, see Free Southern TheaterFudan University Press, 102Fusco, Coco, 40, 158Future of Ritual 40, 60, 125, 131“Future of the Field,” 90, 92

Garrison, Jim, 163Gastronome, see Faust Geertz, Clifford, 279Gelber, Jack

“The Cuban Thing,” 222Genet, Jean

The Balcony, 145, 146, 171Ghosts, 165Gibson, James, 188Gindler, Elsa, 183Glasscoe, Bill

Waiting for Godot, 198Goffman, Erving, 63n75, 170

The Performance of Self in Everyday Life, 169

Goldmann, Lucien, 172Goldoni, Carlo, 14Gomez, James, 83n37Gómez-Peña, Guillermo, 2, 9, 90, 227Goodman, Andrew, 163Goroka Teachers College, 203Gorton, Kristyn, 148n5Gough, Richard, 183, 189, 190Grateful Dead, 94Gray, Spalding, 145, 211, 213, 217, 218

Commune, 219Makbeth, 213Mother Courage, 6, 175, 210, 219Sakonnet Point, 215The Tooth of Crime, 210

Gregory, Andre, 208, 221The Manhattan Project, 206

Grehan, Helena, 128Performance Paradigm, 126

Grotowski, Jerzy, 17, 18, 29, 43, 122, 139, 144, 145, 172, 177, 189, 197, 199, 201, 202, 205, 218

Association Exercises, 198, 200The Constant Prince, 217New York University, 5Towards a Poor Theatre, 100, 147,

149n14, 156, 171, 217“Tu es le fils de quelqu’un,” 143,

151n29Gruman, Alejandro, 237

Haimin, Wei, 113Halberstam, Judith, 136

In a Queer Time and Place, 148Halprin, Anna, 40, 43Hamera, Judith

Opening Acts: Performance in/as Communication and Cultural Studies, 82n23

SAGE Handbook of Performance Studies, 82n23, 95

Hao, Ni, 107Hamlet: That is the Question, 105–6

Hao, ShiHamlet: That is the Question, 107,

117n20Harding, James M., 1, 4, 5, 10n1, 25, 39,

60n1, 60n5


PROOF

288 Index

Harrison, Paul Carter, 224Hasan, Nidal Malik, 78Hashemi, Sayed Rahmatullah, 275Ha’Emek Medical Center, 254, 258, 259Head (Hed), Bob

Kill Viet Cong, 167Hegel, Georg Wilhelm Friedrich, 147,

165, 174Heidegger, Marin, 147Hendrickson, Hank, 3Herald Tribune, 213Herr, Linda, 144, 201Hills, Ben

Princess Masako, 265Hinkle, Gerald

Art as Event, 21Hirohito, Emperor, 264, 266, 267funeral, 269–71, 274n16Hirst, Damien, 275Hoffman, Abbie

“Media Freaking,” 158Hobsbawm, Eric, 268Hoffman, Theodore, 18, 224

Towards a Poor Theatre, 100Homer

The Iliad, 3Hornby, Richard, 88, 89

“Against Performance Theory,” 88Hostetler, Paul, 175n1Howes, Libby, 218Hsing-kuo, Wu, 113Hughes, Holly, 143, 277Hughes, Langston, 167Huijun, Yang,

Give Oresteia a Chance, 113, 114Huiling, Zhou

Environmental Theatre and Intercultural Performance, 113

Huizhu, (William) Sun, 82n24, 98, 99, 101, 102, 103, 107, 116, 117n19, 155

Mingri Jiuyao Chu Shan (Tomorrow He’ll Be Out of the Mountains), 6–7, 109, 110

“Performance Matters: An Introduction to Social Performance Studies,” 101

“Richard Schechner and his Theatre Anthropology,” 100

Huizinga, Johan

Homo Ludens, 169Hulton, Peter, 183, 190n12Hunt, Albert

Hopes for Great Happenings, 122

Ibsen, Henrik, 14, 24, 169, 221, 224Imperial Family, 264, 265

ritual ceremonies of, 266–8, 269, 270, 271, 272, 273nn3–4

Imperial Household Agency, 265, 266Inge, William, 221, 224Ingold, Tim, 188Innes, Christopher, 45International Experimental Theatre

Festival, 103Ionesco, Eugene, 4, 171

The Bald Soprano, 187“The Lesson,” 3

Jackson, Shannon, 17, 40, 45, 95, 101, 155

Jagger, Mick, 209Jakobsen, Janet, 136Jalan, Chetna, 208Jalan, Shyamonand, 51, 202, 208Jameson, Fredric

Postmodernism, or the Cultural Logic of Late Capitalism, 124

Jarry, Alfred, 40Jasudowicz, Dennis, 173–4Jenkins, Ron, 179Jerome, 262Jiancun, Yu, 2, 7, 8, 98, 99, 106

“The Manifestation of Performance Studies in Hamlet,” 102

“The Origin, the Present Situation and the Future Trend of Performance Studies,” 102

“Willy Loman and His Social Performance – Arthur Miller’s Ideas of Social Performance Studies in The Death of Salesman,” 102

Jianping, Qian“Expectations from Lawn to Theater,”

112Jiasheng, Wen

“Richard Schechner and his Environmental Theater,” 100

Johnson, E. Patrick, 155Jones, Amelia


PROOF

Index 289

The Artist’s Body, 127Journal of Shanghai University, 101, 102Journal of Sichuan International Studies

University“Politics and Social Performance,” 102

Kaitaisha, Gekidan, 128Kant, Immanuel, 147, 268, 274Kantorowicz, Ernest, 268Kaprow, Allan, 5, 43, 139, 172, 196

Assemblage, Environments and Happenings, 122

Kapur, M. N., 56Kass, Peter, 199Kazan, Elia

Cat on a Hot Tin Roof, 28Keefe, John

Physical Theatres: A Critical Introduction, 185

Keeler, WardJavanese Shadow Plays, Javanese Selves,

74, 83n32Kemp, Jenny, 124Kennedy, Adrienne, 224Kennedy, John F., 163, 224Kerala Kalamandalam, 178, 208Keum-Hwa, Kim, 182Kierkegaard, Sören

Fear and Trembling, 169King Lear, 180Kirby, Michael, 45, 122, 184

TDR, 154Kirshenblatt-Gimblett, Barbara, 40, 90,

184, 190n13Klasky, Helaine, 280Korean Academy of Performing Arts, 187Korean Cultural Center, 182Kubiak, Anthony, 26Ku Klux Klan, 167Kurup, K. K. N., 178Kushner, Tony, 90

Angels in America, 25

La Mama, 30Lahr, John, 29Lane, Jill

The Ends of Performance, 92, 125Langer, Susanne, 165Langfang, Mei, 113Lanier, Richard, 182

Latour, BrunoReassembling the Social: An Introduction to

Actor Network Theory, 83n32Lawyer, Ave, 56

Junior Statesman, 54Le Petit Journal, 249Lebanese University, 155LeCompte, Elizabeth, 5, 9, 24, 213

Mother Courage, 6, 52–4, 59Leder, Drew, 183Lee, Seung-Heun, 187LePage, Robert, 24Lévi-Strauss, Claude, 172, 174Levine, Lawrence

Highbrow/Lowbrow, 19Levitt, Bob Six, 221Life, 194Lindman, Pia, 281Lindsay, Jennifer, 82n25Lippman, Monroe, 41, 153, 175n1Living Theatre, The, 9, 193–4, 196Loong, Lee Hsien, 67, 84n44Loukes, Rebecca, 190n12Love, Heather, 136

Feeling Backward: Loss and the Politics of Queer History, 148n5

Luciano, Dana, 136Lusheng, Cao, 100

MacAloon, John, 69MacIntosh, Joan, 5, 6, 9, 51, 52, 55,

62n54, 62n65, 214MacLean, Hector, 123Madison, D. Soyini

SAGE Handbook of Performance Studies, 82n23, 95

Magic Theater, 222Mahantjii, 202The Maids, 165Malina, Judith, 5, 9, 117n14, 193, 196Mamet, David

Oleanna, 25Marshall, Thurgood, 158Marcuse, Herbert, 196Marivaux, Pierre de, 14Marlowe, Christopher, 14Marranca, Bonnie, 50, 129Martin, Carol, 100, 199Martin, Ricky, 230Marx, Karl, 36, 147, 167


PROOF

290 Index

Masako, Princess, 265, 273Mason, David, 63n79Massumi, Brian, 148nn4–5Matta, Pedro, 238–46

A Walk Through a 20th Century Torture Center: Villa Grimaldi, A Visitor’s Guide, 237

Maxwell, Ian, 123, 125, 131McAuley, Gay, 121, 123

“Performance Studies in Australia,” 125McConachie, Bruce, 184McCray, Porter A., 201McDermott, Pat, 198McGaw, Charles, 175n1McKenzie, Jon, 5, 31, 35, 49, 68, 86,

101, 283n7Contesting Performance: Global Sites of

Research, 82n24“Is Performance Studies Imperialist,”

61nn36–7, 159Perform or Else: From Discipline to

Performance, 69McNamara, Brooks, 20, 184Mead, Margaret, 203

Trance and Dance in Bali, 196Meade, Teresa

“Holding the Junta Accountable: Chile’s ‘Sitios de Memoria’ and the History of Torture, Disappearance, and Death,” 246

Meeshra, Veer Bhadra, 202Meiji, Emperor, 265, 269, 270, 271, 272,

274Meiji Imperial Constitution, 268, 272Meisner, Sanford, 183Melbourne Performance Research Group

(MPRG), 124, 125Melrose, Susan, 124Merlin, Bella, 183Merman, Ethel, 221Miller, Arthur, 221, 222, 224

Death of Salesman, 102Miller, Glenn, 113Miller, Michael, 224Min, Tanaka, 127Minchinton, Mark, 124–5, 131Mingde, Zhong, 113Minghou, Liu, 106, 108, 117n18,

117n21Mishra, Veer Bhadra, 209

Mitchell, William, 252, 263n10MLA (Modern Language Association), 90Molière, 14, 221, 224, 253Monk, Meredith, 224Moody, Raymond

Laugh After Laugh: The Healing Power of Humor, 249

Moore, Charlie, 175n1Morrison, Jack, 182Moses, Gilbert, 49, 224

Free Southern Theater, 41, 42, 43, 47, 48, 50, 158, 164

The Free Southern Theater by the Free Southern Theater, 42, 46

Mother Teresa, 208Mrouè, Rabih, 155, 156, 158Mrázek, Jan, 74

“An Introduction: One Perspective on a Variety of Perspectives,” 82n26

Muller, Chris, 113Munk, Erika, 158Murphett, Richard, 124Murray, Simon

Physical Theatres: A Critical Introduction, 185

Myerhoff, Barbara, 63n75, 182

NAACP, 158Nagatomo, Shigenori, 183Nair, Mira, 207Namboodiri, M. P. Sankaran, 178Namboodiripad, Vasudevan, 178Nanjing University, 102, 103, 116n9Napgal, Kavita, 54Naqqash, Marun al-

al-Bakhil (The Miser), 19National Herald, 55National Light Theatre, 113National School of Drama, 202National Theatre, 33National University of Singapore, 67, 75Natyasastra, 63n79, 175Nayar, V. R. Prabodhachandran, 178National Endowment for the Arts (NEA),

90, 156Nealon, Chris, 136

Foundlings: Lesbian and Gay Historical Emotion Before Stonewall, 148

NEH, 180Nehru, Jawaharlal


PROOF

Index 291

Discovery of India, 70Neminuwarlin Performance Group, 118New Orleans Group, The, 4, 5, 6, 170, 171New York Post, 214New York Pro Musica

The Play of Daniel, 153New Yorker, The, 213Newekwe, 252New York University (NYU), 5, 17, 41,

91, 142, 150nn23–4, 196Department of Graduate Drama, 248Department of Performance Studies,

6, 7, 20, 27, 40, 49, 63n75, 82n24, 87, 88, 89, 93, 98, 99, 100, 132n35, 143, 147, 150n24, 154, 156, 171, 173, 175, 184, 196, 197, 198, 199, 200, 205, 211, 248

School of the Arts, 154, 224Nicholas, Denise, 43, 224Nicholson, Linda

The Affective Turn: Theorizing the Social, 148n5

Nietzsche, Friedrich“On the Uses and Disadvantages of

History for Life,” 142Niinamesai, 267, 271, 272Northwestern University, 17, 88, 91, 282

Obama, Barack, 78, 80, 84n44Obeysekere, Ranjini, 182Odets, Clifford, 224Ohno, Kazuo, 153Open Theatre, 29Oppenheim, David, 110Osmundsen, Lita, 182

Palgrave Macmillan“Studies in International

Performance,” 82n24PAP, see People’s Action PartyParadise Now, 194Parr, Mike

“Kingdom Come and/or Punch Holes in the Body Politic,” 129

Parson, Estelle, 144Patch Adams (film), 248Pavis, Patrice

Languages of the Stage: Essays in the Semiology of the Theatre, 124

Pellegrini, Ann, 136

People’s Action Party (PAP), 83n37Performance Art, 113Performance Cosmology, 183Performance Group, The, 9, 39, 40, 122,

139, 145,154, 171, 179, 180, 181, 193, 197, 198, 201, 202, 205, 210, 213, 217, 218

The Bacchae, 200Commune, 5, 202, 204, 206, 210, 211,

213, 214, 219Dionysus in 69, 5, 29, 36, 46, 47, 51,

56, 173, 174, 199, 200, 201, 205, 206, 212

“Fire, Fire Burning Bright: Marnem, Marnem Dililib Benuwarrenj,” 118, 119, 128

The Marilyn Project, 205, 215Makbeth, 199Mother Courage and Her Children, 5, 6,

54, 55, 56–7, 59, 177, 205The Tooth of Crime, 5, 25

Performance Paradigm, 132n34Performance Paradigm, 126–7, 132n34

After Effects: Performing the Ends of Memory, 127

Emergences, 127Ethics, Politics and War, 127Media, Performance and Technology, 127Performance Research, 38n24, 82n24,

125, 183Performance Studies Conference, 89, 124

“Here Be Dragons,” 86Performance Studies Focus Group, 87, 92Performance Studies international, 87Performance Studies Reader, 82n23, 95Performance Studies Series, 102Performance: A Critical Introduction 39,

81, 125Performing Garage, 5, 6, 30, 57, 63n75,

173, 175, 197, 206, 211, 222Phelan, Peggy, 5, 49, 142, 143, 150n24,

155, 159The Ends of Performance, 92, 125Unmarked: The Politics of Performance,

90, 125Pillai, J. Y., 67Pinochet, Augusto, 10, 23–8, 241, 244, 245Pinter, Harold, 24Pirandello, Luigi, 25Piscator, Erwin, 193


PROOF

292 Index

Plato, 147Play-House of the Ridiculous, 29The Polish Laboratory Theatre, 202Post, The, 213Prem Dan, 208Price, Norman, 123Primary Source, 124Prometheus Project, 277Provincetown Players, 3PSFG, 92, 93PSi, 7, 92, 93, 94, 95, 97n23, 125, 126

RADA, 76, 77, 185Rae, Paul, 2, 8, 67Rafferty, EllenPutu Wijaya in Performance, 186Ramayana, 80, 209Ramlila, 153, 177, 178, 206, 209, 210Rancière, Jacques, 80, 84n43Ravenhill, Mark, 33, 36Read, Alan

Theatre, Intimacy and Engagement: The Last Human Venue, 34, 35

Read, Kenneth E.The High Valley, 203

Red Guards, 111, 112Reeve, Sandra, 183, 189

Move into Life, 188Reinelt, Janelle, 49, 161

Critical Theory and Performance, 82n23“Is Performance Studies Imperialist?

Part 2,” 159“Studies in International

Performance,” 82n24Renoir, Jean, 138Research Assessment Exercise, 32Richard Schechner Center for

Performance Studies, 7, 8, 99, 100Richards, Alison, 125Richards, Lloyd, 199Roach, Joseph, 10, 95, 101, 159, 275

Critical Theory and Performance, 82n23

Rockefeller, John D., 201Rockefeller Foundation, 70, 216Rojo, Jerry, 209Roms, Heike, 121

Contesting Performance: Global Sites of Research, 82n24

Rosaldo, Renato, 175

Rosenthal, Cindy, 1, 4, 5, 10n1, 10n2, 10n5, 10n6, 39, 60n1, 60n5, 160n30, 160n31, 196, 213

Roshi, John Garrie, 189Rostand, Edmond, 221, 224Rote Nasen (Red Noses), 263n7Rusden State College, 121Russell, Mark, 156Ryan, Paul Ryder, 50, 62n72

Sack, Leeny, 207, 210Saddhus, 209Sahoo, Guru Kedar, 207Salovey, Peter, 282Sancho, 256, 259, 262Sandford, Mariellen R., 4, 9, 143, 152Saneh, Lina, 158Sankat Mochan Foundation, 202Sankat Mochan Temple, 202, 209Satipatthana, 189SCA, 90Schechner, Richard

“Actuals: A Look into Performance Theory,” 9, 139, 149n11

Between Theater and Anthropology, 6, 125, 140, 141, 246n1, 264

Blessing the Fleet, 3Boys from Syracuse, 180Briseis and the Sergeant, 3By Means of Performance: Intercultural

Studies of Theatre and Ritual, 183, 190chronological overview, 3–7“A New Paradigm for Theatre in the

Academy,” 30, 87–8, 89“Drama, Script, Theater and

Performance,” 21, 22n5, 35, 87, 176n5

The End of Humanism, 137Environmental Theater, 6, 27, 37n2, 46,

100, 122, 156, 181, 200Essays on Performance Theory, 138, 139,

173The Free Southern Theater by the Free

Southern Theater, 42, 46, 223Hamlet, 7Hamlet: That is the Question, 2, 7, 8,

103–9“Intentions, Problems, Proposals,” 152Julius Caesar, 221“The Lesson,” 3


PROOF

Index 293

Makbeth, 199, 206, 212, 213Ma Rainey’s Black Bottom, 6Oresteia, 6“The Past, Present, and Future of

Performance Studies,” 100“Performance Studies: A Broad

Spectrum Approach,” 71Performance Studies: An Introduction,

34, 40, 43, 87, 94, 95, 157, 278Performance Theory, 6, 7, 26, 35, 37n7,

149n11, 173Public Domain: Essays on Theatre, 43,

122, 171, 175“Restoration of Behavior,” 237, 264Richard’s Lear, 6, 179–81“Stanislavski at School,” 157“Stanislavski in America,” 156“Transforming Theatre Departments,”

157see also East Coast Artists; East End

Players; the New Orleans Group; The Performance Group

Scheer, Edward, 126, 129–30, 132Schmale, Eva, 183Schneider, Alan, 224Schneider, Rebecca, 2, 9, 37, 135, 155

Kyrie Eleison (Lord Have Mercy), 145, 146, 148

“Performance Remains,” 150n24Schor, Naomi

Reading in Detail, 142Schwerner, Michael, 163Scott, A. C., 180Second World War, 70Sedgwick, Eve Sokofsky, 137, 149n6Self, 147Self, Kass, 207Sen, Ong Keng, 155Shakespeare, William, 14, 24, 102, 104,

106, 108, 171, 214, 221, 224King Lear, 180Richard III, 180

Shanghai Peoples Art Theater, 6Shanghai Theatre Art Center, 109, 110Shanghai Theatre Academy, 8, 82n24,

98, 116n1, 116n9, 117nn18–20, 155and the emergence of performance

studies in China, 99–103symbolic devices and cultural

perspectives, 103–9

Shepard, Sam, 26, 29, 222The Tooth of Crime, 5, 25

Shi, WeiTowards a Poor Theatre, 100

Shinobu, Orikuchi, 272Shogo, Ota

The Water Station, 187, 188Shvarts, Aliza, 10, 275–7, 280, 281, 282

L’affaire, 278Siegel, Marcia, 150n24, 184Singapore Flying Circus Project, 128Singer, Milton, 68–72, 76, 79

“The Pattern of Indian Civilization: A Preliminary Report of a Methodological Field Study,” 69

Traditional India: Structure and Change, 70, 81n12

When a Great Tradition Modernizes, 69Sircar, Badal, 202The Sisters of Mercy, 208Smerling, A. J., 251, 263Smith, Anna Deavere, 2, 9, 37n5, 220

Fires in the Mirror, 25Smith, Ciel, 198, 211Sonnega, William, 50, 61Sophocles

Oedipus, 165, 210Oedipus Rex, 165, 167

Sorgenfrei, Carol, 184Sprinkle, Annie, 153, 277Stanescu, Saviana, 7Stanislavski, Constantin, 86, 160, 183,

197An Actor Prepares, 122

Statesman, 53Stein, Peter, 170, 251, 263

Cherry Orchard, 31Stewart, John, 76Storr, Robert, 281Strategic Army Corp, 3Striff, Erin

Performance Studies, 82n23, 95Strindberg, August

Miss Julie, 165Suryodarmo, Suprapto

Amerta Movement, 189Sutherland, Elizabeth, 47Sydney Morning Herald, 265Sydney University, 121, 123, 125,

132n35


PROOF

294 Index

Tadashi, Suzuki, 24, 132The Trojan Women, 182

Taipei National University of the Arts, 113

Tait, PetaBody Show/s: Australian Viewings of Live

Performance, 127, 128Takamatsu, Prince, 267Taylor, Diana, 10, 237

Disappearing Acts: Spectacles of Gender and Nationalism in Argentina’s Dirty War, 246

Taylor, Moira, 94Taymor, Julie, 179TDR: The Journal of Performance Studies,

4, 7, 9, 17, 18, 24, 29, 39, 41, 42, 71, 82n24, 85, 87, 91, 92, 98, 99, 100, 116, 122, 143, 144, 147, 152– 61, 164, 167, 170, 171, 222, 224, 227, 277, 282

“Performance Theory: Southeast Asia Issue,” 179

“War and Other Bad Shit,” 158Theater Bulletin, 53TheaterWeek, 88, 89Theatre Arts: The Journal of Shanghai

Theatre Academy, 155, 160“Performance Studies and Social

Performance: Philosophical Foundations and Practical Ramifications,” 101

“What is Performance Studies?” 116n1Theatre Journal, 88Therapeutic Humor, 249Thiong’o, Ngug ı wa, 90Thiyam, Ratan, 24Thoday, Margaret, 203Tillich, Paul, 147Times of India, 57Tisch School of the Arts, 7, 82n24, 98,

110, 225Tomkins, Calvin

The Bride and The Bachelors: Five Masters of the Avant-Garde, 145

Towsen, John, 251“Tramp on the Street,” 204Trier, Lars von

The Kingdom, 253Tulane University, 3, 4, 5, 9, 41, 153, 155,

158, 162, 164, 172, 173, 196, 282

Graduate Theatre Program, 171MFA Directing Program, 163, 175

The Tulane Drama Review, 4, 5, 17, 41, 42, 153, 164, 171, 196

Turnbull Colin, 172Turner, Victor, 5, 6, 40, 46, 58, 59,

63n75, 63n79, 85, 86, 92, 95, 121, 129, 137, 173, 174, 181, 182, 203, 217, 253, 277, 282

“Frame, Flow and Reflection: Ritual and Drama as Public Liminality,” 263n12

From Ritual to Theatre, 57“Liminal to Liminoid, in Play, Flow,

Ritual,” 263n12

University of British Columbia, 209University of Chicago

Southern Asian Studies Program, 70University of Haifa, 248, 255, 262University of Iowa, 3, 155University of Maryland, 93University of Melbourne, 120, 121, 123,

124University of NSW, 121University of Sydney, 121, 131University of Wales, 121, 126University of Wisconsin-Madison

Boys from Syracuse, 180“The Other Side of Shakespeare,” 180Richard’s Lear, 180Rosencranz and Gildenstern are Dead,

180US State Department 110

Vagnoli, Laura, 251Van der Veer, PaulDa Xi, 83n34Van Gennep, Arnold, 85, 86, 87, 95Van Hove, Ivo, 24Vance, Vivian, 221Varney, Denise, 123, 124, 128Vawter, Ron, 6, 145, 146, 210, 215Victoria University, 124Villa Grimaldi, 10, 237, 238, 239, 240,

241, 242, 243, 244, 245, 246nn4–5Vishvamitra, 53, 54, 62nn60–1Vlckova, Irena, 251Von Trier, Lars, 253Vorse, Mary, 3


PROOF

Index 295

Wagner, Arthur, 169, 175n1Walker Arts Center, 180Warr, Tracy, 127Wayang, 8, 67–84Wayang Party, 83n37Weintraub, Andrew N.

Power Plays: Wayang Golek Puppet Theater of West Java, 82, 83n32

Weiss, Peter, 171Whitehead, Alfred North, 21Wijaya, Putu

Geez!, 186Wilde, Oscar, 224Williams, David, 128Williams, Gary Jay, 184Williams, Robin, 249Williams, Scott, 183Williams, Tennessee, 24, 221, 222, 223,

224Cat on a Hot Tin Roof, 28

Wilson, August, 226Two Trains Running, 25

Wilson, Robert, 24, 29Wimmer, Cynthia, 97n27

Teaching Performance Studies, 82n23Winnebago Indians, 251Winnecott, D. W.

Playing and Reality, 169Woods, Alan,

“Emphasizing the Avant-Garde: An Exploration in Theatre Historiography,” 35–6

Woodstock Nation, 173Woodward, Kathleen, 148n5Woodward Report, 282Wooster Group, 6, 24, 26, 153, 155, 218,

219

Brace Up!, 31Rumstick Road, 215, 218Sakonnet Point, 210, 215Three Sisters, 31

World War II, 69, 70, 259, 272, 273, 274n17

see also Second World WarWorthen, W. B., 57, 58, 63n79, 277

Xiaodu, Yang, 100Xiaoping, Lv, 103, 107, 116n9Xing, Zheng, 105

Yale Daily News, 275Yale University, 10, 275, 276, 280, 281,

282Ying, Gui, 103, 117n10Yip, Tim, 114, 158Yippie Festival of Light, 158YMCA, 168Yongwen, Peng, 2, 7, 8, 98, 99Yoo, Jeung-sook, 187, 188Yuichiro, Takahashi, 2, 10, 264Yunan College, 102

Zaili, Chen, 110Zarrilli, Phillip, 2, 6, 9, 177, 183, 190

Boys from Syracuse, 180The Kathakali Complex: Actor,

Performance, Structure, 184Psychophysical Acting, 186

Zedong, Mao, 109, 111Zhejiang University, 103, 117n10Zinder, David, 183Ziyoni, Herzel, 254–62, 263n16Zola, Émile, 165Zuni, 252


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