Richard Schechner Research Articles

Performance as cultural text: defamiliarizing the performing art tradition of Purulia Chhau

Referring to the social and cultural anthropological perspectives and employing a qualitative approach as the primary methodological tool, this PhD dissertation explores the performing art tradition of Chhau in Purulia, West Bengal, as a cultural/performance text. According to Richard Schechner (2006), the performance process as a time-space sequence consists of (1) proto-performance – training, workshop, and rehearsal; (2) performance – warm-up, public performance, events/contexts sustaining the public performance, and cool down; and (3) aftermath – critical responses, archives, and memories. Conflating these three-phase performance sequences, first, the dissertation finds out the correlation between dance habits and restored behavior and analyzes the proto-performance practices of Purulia Chhau. Second, it analyzes the connection between the performative cultures of Chaitra Parva and Purulia Chhau and establishes a synthesis among ritual, performance, and spirituality. It also understands the core performance gist of Purulia Chhau, deriving from the cultures of orality, performativity, and make-believe/make-belief. Third, the dissertation critically looks at the various performance aftermaths such as audience reception, critical responses, archives, memories, new normalization, and women’s innovations that take place in Purulia Chhau.

Restored Behaviour and the Formation of Ethnic Identity: Critiquing the Rai Youths’ Sakela

This paper examines four YouTube videos on Sakela, a dance performance of the Rai community, in two major contexts: enormous shifts and deviations in the performances of youths and the signature of unique ethnic identity. Sakela in its primitive art form of Rai culture has a ritual connection with the transcendent forces for human health and agriculture. However, there have been many deviations and changes in its highly contextualized aesthetic manifestations like festive performances, ceremonial presentations, recreational activities, political demonstrations or urban, and diasporic discourses. Against this backdrop, the paper addresses the primary questions of why these performances recur in different forms and what role the restoration of behaviour plays in forming the ethnic identity. The study approaches these questions with the objectives of analyzing the restored behaviour in the Rai youths’ Sakela and identifying the performances as preserving the signature of ethnic identity. The examination of primary data in the qualitative study includes the analysis of selected YouTube video contents comprising Sakela performances, using the content analysis method. Primary data are selected to quantify the phenomena of Rai youths’ restored behaviours in Sakela dance, their cultural meanings, and their relationships to ethnic identity. To validate the collected data, the study draws theoretical insights from Richard Schechner’s theory of restored behaviour. Schechner's theory promulgates that people are always performing anew out of old in a continual rehearsal. The behaviour is replicated and thus performances gradually emerge. Such behaviors ranging from small gestures to ritualistic performances become part of lives but they are no longer sticking to the original source. Pursuant to this conceptual framework, the paper argues that Rai youths’ Sakela demonstrates the signs of restored behaviour, the symbolic and coded aspects of their culture. It also posits that embodied ethnic traits evident in the performance ensure the persistence of membership in their community. Thus, Sakela continues to be the signature of ethnic belief system and unique identity in the lives of Rai youths. In all its aspects of the repetition of never the same, the embodiment of ethnic identity keeps on sticking to youths’ Sakela.

Bangabandhu Sheikh Mujibur Rahman's 7th March Speech: An Analysis Through Performance Study Lens

This paper critically examines Bangabandhu Sheikh Mujibur Rahman’s 7th March speech from a performance studies perspective. It argues that the speech, delivered at a crucial juncture in the Bangladesh Liberation War, utilized performative language and embodied performance techniques to galvanize the Bengali population. This paper analyzes how Mujib's rhetoric transformed social realities and mobilized a nation towards independence by applying theories from performance studies, including those of J.L. Austin, Judith Butler, Erving Goffman, and Richard Schechner. The findings suggest that Mujib’s strategic use of pronouns, emotive expressions, rhetorical questions, and repetitive phrases, along with his dynamic body language, created a powerful performative act that effectively united and motivated the audience. Concluding comments emphasize the enduring impact of Mujib's speech on the formation of Bangladeshi national identity. Research implications highlight the importance of viewing political speeches through the lens of performance studies to understand their broader social and cultural impacts. Limitations of the study include the reliance on textual analysis without incorporating audience reception data, which could provide a more comprehensive understanding of the speech's impact.

Silek Pangian in the Bolek Laman Tuo Tradition in The Social Structure of The Nagari Sungai Dareh Community, Dharmasraya District, West Sumatra Province

This research, entitled "Silek Pangian in the Bolek Laman Tuo Tradition in the Social Structure of the Nagari Sungai Dareh Community, Dharmasraya Regency, West Sumatra Province", is research on the Silek Pangian performance which is performed on a page tuo in the Bolek Laman Tuo tradition in the Nagari Sungai Dareh community. This research uses performance studies theory by Richard Schechner which is assisted by the concept of performance by Milton Singer. Performance studies theory is used to investigate the Silek Pangian performance in the Bolek Laman Tuo Tradition in the social structure of the Nagari Sungai Dareh community, as a performance that can be observed from various aspects, both from the aspect of the person performing, the audience, and the people who was accidentally present at the incident. Milton Singer's concept of cultural performances helps to analyze that a cultural performance has: (a) limited performance time; (b) beginning and end; (c) organized activity events; (d) a group of players; (e) a group of spectators; (f) performance venue; (g) the opportunity to demonstrate it. This research uses an ethnographic method, which makes the researcher a participant observer in this research. The results of the research show that Silek Pangian in the Bolek Laman Tuo Tradition is a show and performance that has always been part of the social structure of society and has become a tradition that is proud of the local community of Nagari Sungai Dareh, Dharmasraya Regency, West Sumatra Province.

Kumari Culture: A Ritualistic and Dialectic Performance

Cultural values and traditions including rites and rituals are the peculiar identities of ethnic groups in Nepal. Newars of Kathmandu valley is one of the indigenous ethnic groups of Nepal with enough prosperity in their unique cultural performances. Every performance in Newari culture, from a typical folklore to native language to the celebration of national Newari festivals, has their own distinguishing features. Among the several aesthetic performances of Newari community is 'Kumari Culture'. In Kathmandu valley, 'Kumari Culture' regards to one of the sacred and idiosyncratic ritual performance where a young girl of age gap between 2-5 belonging to Newar Buddhist community is chosen as the divinity of goddess. The selected 'Kumari', regarded as a living goddess, is then worshipped by entire Nepali citizen. Kumari culture is believed to be originated from ancient Malla reign in the kingdom. Nonetheless, much controversy has arisen regarding Kumari culture in the recent times. Some critics call this culture as a system of child labour whereas, some advocate for the abolishment for its connection to the Royal history. Yet, Kumari culture is a holy form of Newa: Cultural performance that has its own inherent significance. Hence, this paper attempt to examine multi-dimensions of Kumari culture by assessing ritual performances of this culture. Finally, this paper affirms for the recognition of spiritual and dialectical performance of Kumari culture. I would be developing my argument within the fundamental theoretical insights of Richard Schechner and Victor Turner, incorporating the parameters of qualitative analysis.

A Museum Theatre Approach to Museum Communication in Durban, South Africa

This article explores how museum communication can be enhanced in museums in Durban, South Africa, using the Old Court House Museum (OCHM) in Durban, South Africa, as a point of departure for analysis and discussion. The aim is to close the gap between the humanities disciplines through disciplinary hybridisation while focusing on exploring the intersection of theatre arts and museums through applied theatre (AT) strategies to enhance museum communication. Grounded in Richard Schechner’s multidisciplinary approach to performance studies (PS), it incorporates the viewpoints of Dwight Conquergood on PS. The argument is that the humanities disciplines are historically and conceptually linked through cultural performance. The research employs qualitative methods, including historical-analytic analysis, key informant interviews (KIIs), and direct observation. The findings suggest the practice of the museum theatre (MT) concept in some parts of the South African cultural ecosystem, but with scant attention on Durban municipal museums.

Cultural Dances as Performative Arts: A Study of the Cultural Dances Associated with the Newar Community

This paper attempts to analyze the cultural dances associated with the Newar community of Baglung Municipality as performative art from the perspective of Performance Studies theory. An effort is made to clarify the historical context of the dances and their present conditions with the problems and possibilities. Our discussion aims to bring to light the glorious history of the cultural dances and the great possibility to develop the cultural identity of the Newar community of Baglung. Similarly, these dances can be discussed and exposed in the world of academia as performative arts. This study reveals that these dances are facing so many problems at present. They are being victims of the western influence in our culture. These problems can be solved only with the united effort of the local government and the local people. If managed properly, they can function as means of promoting tourism in Baglung. This research work uses mixed method and the critical ideas of Performance Study theorists like Richard Schechner for analyzing the dances as performative arts.

Laughing Online: Indian Stand-up Comedy as Spectator Sport

This paper investigates spectator dynamics in the offline and online performances of stand-up comedians, Vir Das and Kenny Sebastian. It studies the performer–comedian relationship through the media theory of John Fiske and John Hartley, the Rasa Box of Richard Schechner and Group Phenomenon of psychology. Media and performance aspects, such as stage setting, lighting, script, identity, complaisance and techniques, are theorised to arrive at insights into spectatorship in stand-up comedy.

Gender conflict resolution in Nigerian and African American standup performances

Stand-up comedy, a prominent facet of live theatrical entertainment, occupies a unique position in the entertainment industry, embodying a key element of popular culture. This comedic form reflects the sociological dynamics of both historical and contemporary societies, influencing and engaging both local and international audiences. Beyond providing psycho-physical therapy for performers, stand-up comedy plays a pivotal role in shaping societal perceptions. This article focuses on a gender-focused analysis of stand-up comedy, exploring its implications for domestic growth, marriage unity, and love. Utilizing three digital recordings featuring stand-up comedians, namely Bright Okpocha (Basket Mouth), Ayo Makun (AY), and Eddie Murphy, the study examines their unique approaches to addressing gender-based violence and resolving conflicts. The selection criteria were based on the comedians' distinct counseling methods and perspectives on gender-related issues. Drawing on Richard Schechner's performance theory, the analysis employs both performance and content analyses to elucidate the spectrum of gender conflicts and resolutions presented by the comedians. The findings underscore the importance of mutual understanding and communication in resolving gender conflicts. The article also delves into the influence of parental roles in household management and the pursuit of material wealth. Emphasizing the significant role of counseling modes, the study concludes that stand-up comedy, with its oratory counseling mode and therapeutic elements, serves as an effective means of addressing gender conflicts, contributing to mutual understanding and successful resolutions within society.

A Study on the Value and Direction of 'Hahoe Byeolsingut Tallori' in Andong from the Performance Perspective of Richard Schechner

A Study on the Value and Direction of 'Hahoe Byeolsingut Tallori' in Andong from the Performance Perspective of Richard Schechner

Ijegbe and Luse Performances, and the Dialects of Collectivized Tragedy and Ideology among the Ilaje

This essay explores the genres of Biripo, the Ilaje oral performance or folk-poetry, Ijegbe and Luse vis-à-vis the notion of collectivised tragedy and ideology among the people. Few forays have been undertaken into Biripo, but no known research has been carried out Ijegbe, Luse and collectivised tragedy and ideology among the people. The essay adopts Richard Schechner’s performance theory which sees performance as representation of self and advocates the revolutionary departure from the confinement of theatrical enactments to the theatre. The theory is suitable since the concepts of Ijegbe and Luse are performance-centred. The essay employs oral interviews; secondary materials like textbooks, filmic records of already performed Ijegbe and Luse, journal articles and electronic materials for information garnering.
 The essay unfolds the meanings of Ijegbe and Luse as the mother of or home-grown forms of the modern rap art or music. They are the genres of Biripo that are performed as the indigenous form of western dirge or elegy performed for the sole purpose of mourning the loss one’s loved ones. The paper also reveals how practice of collective performance of Luse and Ijegbe epitomises the notion of collectivised or shared tragedy and ideology among the people. Also revealed in the essay is the fact that the two genres are potent agencies of transmission and propagation of indigenous knowledge system. The paper, therefore, recommends the perpetuation of the forms for the continuity of the people and their sense being.

Dancing with Anthems, Godzilla and Laser Pointers: Performance as Protest in the Post-Umbrella Movement Era and the 2019 Anti-Extradition Law Amendment Bill movement in Hong Kong

In this paper, I explore public performances in protest as a form of civic participation, especially for performances that aim to challenge and critique two controversial laws in Hong Kong, the Anthem Law and the Anti-Extradition Law. I focus on how arguments presented in the protest are performed in public, particularly on how participants make use of their voices and bodies in improvised and choreographed ways. I focus on two examples. The first is a series of “flash mob” events organized by the pro-democracy political party, Demosistō, who performed and parodied the national anthem, “March of the Volunteers”. The second example is a public assembly during the Anti-Extradition Law movement, where protestors used laser pointers to transform a protest space into a disco-like dance floor. I read these cases in dialogue with scholarship on performativity by Judith Butler, Richard Schechner, Jorge Cadena-Roa and Cristina Puga. I focus on how protestors navigate identity through performing with music in public space, where civic engagement manifests as bodily movements, sound and voices.

Habit as Restored Behaviour in Purulia Chhau

According to Richard Schechner, the overall time-space sequence of performance is divided into three parts: proto-performance, performance and aftermath. Schechner’s concept of restored behaviour falls under the time-space sequence of proto-performance, which comprises of training, workshop and rehearsal processes. As such, restored behaviour marks previously enacted embodiment and emphasizes the processes of repetition and revision. These behaviours can be aligned with habits as ‘a settled disposition or tendency to act in a particular way, acquired through repetition of the action in question’ (Felix Ravaisson (2008) Of Habit, trans. Clare Carlisle and Mark Sinclair, London: Continuum, p5). This article aims to open a window on the concepts of restored behaviour and habit and explores in the context of a particular aesthetic performance practice via an emphasis on repetition, enactment and embodied assimilation. Accordingly, this vignette focuses on Purulia Chhau of West Bengal, a tribal, martial, folk, masked dance-drama form of Eastern India, whose various habits of performance are considered in terms of restored behaviours. Within this context, we use Schechner’s theory and employ a qualitative approach as the primary methodological tool to analyse the threefold habits of proto-performance practices in Purulia Chhau, close read the recurring patterns as habits in practices of repetition and their improvisation, and examine how restored behaviour works both in symbolic and reflexive ways during the performances offered to the public.

The Conveyance of the Japanese Atmosphere to Visitors as a Performance at Marugame Udon, Solo Paragon Lifestyle Mall

Marugame Udon is a Japanese fast-food restaurant chain with many branches in Indonesia. This study examines the conveyance of the Japanese atmosphere to visitors as a performance. Interior research based on performance theory has not been widely conducted. This study aims to determine the performative influence of Marugame Udon’s interior on visitors by exploring Richard Schechner’s performance aspects (action, interaction, relationship). This study uses a qualitative approach with a case study method to deeply explore data from visitors and interior elements. The data collection techniques used are observation, in-depth interviews, literature study, and company profile reading. Data analysis is done by reduction, presentation, and drawing conclusions and recommendations. The findings of this study are: (1) the “action” exploration finds that the interior display is a manifestation of Marugame Udon’s identity as a Japanese restaurant chain and its commitment to introducing Japanese culture, especially Sanuki; (2) the “interaction” exploration finds that the presence of interior elements is a mutually dependent system in displaying the atmosphere (Japanese), and visitors interact most with noren and the theater kitchen; (3) the “relationship” exploration reveals that Marugame Udon does not only act as a restaurant providing food and drinks but also as a stimulating agent that influences visitors’ perceptions and evokes their memories and desires related to Japanese culture. These three findings indicate that Marugame Udon’s interior is a static performative ecosystem that can interact and form relationships with visitors.

Intertwined body and mind: Embodying character and reflections on the performative experience in Kathakali

The goal of this study is to present an interrogation on the notion of ‘becoming’ a character in Kathakali and to develop some critical questions about the creative transformation widely discussed in the performance studies scholarship, whether it is a complete psychophysical process during a performance. As such, this study is primarily committed to the task of analysing and describing the experience of a Kathakali performer while they embody a character, and attempts to underscore that the performative transformation occurs as an oscillatory movement between the trained body and the mind. With this disposition, this study tries to make sense of everyday performativity of Kathakali performers shaped by their training, social and cultural background and how their somatic and psychological state during the performance helps them experience a performative transformation. This will be closely examined under three sections: (1) the physical training and the ways in which the actor’s body is prepared for the performance, (2) the nature of the internal preparation of the actor and (3) an account of how this internal and external preparation helps the actor embody character and what the actor experiences during a performance. In an attempt to investigate this performative experience, I employ frameworks provided by Philip Zarilli, Richard Schechner and Eugenio Barba and their observations about the body and the mind in performance to offer additional perspectives on the performative transformation in Kathakali. This article is informed by both scholarly sources and the author’s own practice of Kathakali as a performer.

Lost Origin and Beyond. Towards a design framework for mixed reality theatrical experiences

This paper documents the origin and development of Lost Origin, an immersive experience taking place in mixed reality, designed by the production company Factory 42. Building on key findings from the experience, as well as Richard Schechner’s well-known Six Axioms for Environmental Theater, the paper proposes an original framework for the design of immersive experiences in mixed reality.

The Master’s Fall: The Fall of the Bourgeoisie Through the Fall of Patriarchy

The Master’s Fall: The Fall of the Bourgeoisie Through the Fall of Patriarchy

Something Beautiful and Powerful: Politics, Art, and Bread and Puppet Theater

Something Beautiful and Powerful: Politics, Art, and Bread and Puppet Theater

ГУСТАТИВНІ ОБРАЗИ МИРОСЛАВА ЯРЕМАКА (НА МАТЕРІАЛАХ ПЕРФОРМАНСІВ)

The article constitutes a segment of the author's research on the representation of social practices through artistic production processes in twenty-first-century Ivano-Frankivsk. It delves into the issue of intercultural communication by examining gustatory themes within the performances of the action artist, Myroslav Yaremak. The study concentrates on actions that revolve around artistic depictions of food and beverages' growth, processing, and consumption, recontextualized within the present culture and politics of a provincial city amidst a globalized backdrop. Furthermore, the article explores the documentation aspects and the societal impact of the performances «Alma mater», «Sower», and «In vino veritas» on the small-town community. The material is organized thematically, revealing content categories such as milk, grain (seeds), and wine as significant markers. The structure of the work revolves around life experiences, meanings, and artistic images. The methodology encompasses semiotic studies by Roland Barthes, performance studies popularised by Richard Schechner, and food studies exemplified in the works of Crystal Neely. It analyses how the chosen categories' meaning and significance, as well as the artist's associated actions, evolve due to changing political or cultural circumstances. The primary empirical foundation of this study comprises self-archived performance artefacts, photo documentation sourced from Ivano-Frankivsk photographers' archives of the 1990s and 2010s, self-descriptions, performance documentation, and interviews with Myroslav Yaremak conducted between 2022 and 2023. The article reveals the process of transforming specific gestural acts into universal ones through ingrained images within daily experiences. It demonstrates how the form of performance and reperformance was shaped by cultural or political history, interpreted through the subjective experiences of the artist and his assistants. Consequently, it portrays gestural acts in the work as mediums of social interaction, wherein recipients (assistants and spectators) become active participants within the artwork.

The Witch in Flight

The Witch in Flight