By Victor W Turner, Edward M Bruner
From again conceal: Fourteen authors, together with a few of the best-known students within the box, discover how humans truly adventure their tradition and the way these studies are expressed in kinds as diverse as narrative, literary paintings, theater, carnival, ritual memory, and lifestyles overview. Their stories might be of precise curiosity for an individual operating in anthropological conception, symbolic anthropology and modern anthropology. (Description by means of http-mart)
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Two acting strategies are used by theater people. The first is Stanislavski's classic exercise of "emotional recall," which is similar to the "method" acting of Lee Strasberg at the Actors' Studio. The actor relives a past emo tional experience by recalling a previous incident in all its detail, with the objective of aligning feelings to produce a more authentic and convincing performance. The second strategy is more me chanical. The actor learns which muscles to contract while prac ticing in fro nt o f a mirror.
Despite the fact that Cordero's ceramics are rooted in Pueblo tradition and reflect her deepest personal experiences, her art is influenced by what sells in the Anglo market. Certainly Cochiti pottery, the Trinidad carnival, and a parade in California are authentic cul tural expressions-after all, the issue is not one of authenticity but we must nevertheless pay more attentio n to the fact that tourists and the mass media are the ultimate consumers o f many cultural expressions. Previously, anthropologists have had a ten dency to deprecate "tourist" objects and performances, but I suggest that an anthropology of experience may well have to take these forms more seriously.
But all h uman act is impregnated with meaning, and meaning is hard to measure, though it can often be grasped, even if only fleetingly and ambiguously. Meaning arises when we try to put what culture and language have crystallized from the past together with what we feel, wish, and think about our present point in life. , to see whether and, if so, how tellingly they relate to or illuminate our present individual problems, issues, troubles, or uneasily inordi nate joys. Each such rubbing together of the hardwood and softwood of tradition and presence is potentially dramatic, for if we venerate ancestral dicta, we may have to, so we dolefully con clude, jettison present joy or abandon the sensitive exploration of what we perceive to be unprecedented developments in h uman mutual understanding and relational forms.