By Ralph Yarrow
The idea of the sacred has lengthy knowledgeable the paintings of British dramatists like Harold Pinter and Tom Stoppard. Ralph Yarrow’s Sacred Theatre is the 1st publication to check the position of the sacred within the perform, technique, and function of drama. whereas leaving enough space for the non-public and experiential, Yarrow attracts on innovations from sociology, anthropology, and significant concept in addition to analytical readings of performs and function occasions to envision how theater interacts with the otherworldly. This quantity is vital analyzing for a person intrigued through the intersection of drama and consciousness. “This publication takes at the huge, immense job of determining not just the sacred in theatre but additionally questions rules of sacred around the spectrum. It deals loads of fabric for dialogue inside functionality and theatre concept courses.”—Jade Rosina McCutcheon, division of Theatre and Dance, college of California, Davis
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Extra info for Sacred Theatre (Intellect Books - Theatre and Consciousness)
Sample text
An obscure figure of archaic Roman law; in which human life is included in the juridical order [ordinamento] solely in the form of its exclusion ( that is, of its capacity to be killed), has thus offered the key by which not only the sacred texts of sovereignty but also the very codes of political power will unveil their mysteries. (8–9) Agamben’s study is important within the context of this book. Because he collapses conventional distinctions between the sacred and the political, Agamben not only legitimates the notion of sacred politics, more to the point, he shows that the two cannot be separated.
For our purposes here it’s relevant that any kind of change operates as physiological modifications in the rhythmic and/or perceptual functioning of the body. qxd 46 25/10/07 11:19 am Page 46 | SACRED THEATRE in theory and as practice, with the use of the body to transcend the body (Vatsyayan 1980, 8); it is worth noting though that many kinds of performance training target a similar process. The structure of ritual often contains escalation and leads to heightened physical behaviour, sometimes to a different kind of operation in which ‘something’ seems to have ‘taken over’ the body.
In western traditions the link between drama, religion and ritual goes back at least to the Egyptian drama of Seth or Typhon, though the primary source of early western theatrical traditions is Greek, and more especially Athenian. The Athenian festival of Dionysus was at once political, civic, dramatic and religious, linking foundation myths with the practical functioning of society. It was also both celebratory and mocking. Conversely, the ritual enactment and ceremony of religion have also remained close to drama, from the ritual dismemberment of an animal and the chewing of raw meat in Dionysian worship, a participatory remembrance of the dismemberment and resurrection of the god, to the similar ritual symbolically present in the mass and eucharist services of Christianity.