Efnisyfirlit

• Cover Page
• Title Page
• Copyright Page
• Preface to the Routledge Classics Edition
• Acknowledgments
• Author’s Note
• Introduction: The Fan and the Web
• Note
• 1: Approaches
• The Cambridge Anthropologists
• Play, Games, Sports, Theater, and Ritual
• Notes
• 2: Actuals
• Notes
• 3: Drama, Script, Theater, and Performance
• Notes
• 4: From Ritual to Theater and Back: The Efficacy–Entertainment Braid
• Performance Rhythms
• The Pig-Kill at Kurumugl
• Transformances
• The Efficacy–Entertainment Braid
• Theater for Tourists
• From Theater to Ritual
• Conclusions
• Notes
• 5: Toward a Poetics of Performance
• Hunting Circuits, Ceremonial Centers, and Theaters
• Transformances
• What Performers Do: The Ecstasy/Trance Wheel
• Rehearsal Procedures
• Notes
• 6: Selective Inattention
• Relationship Between Social and Aesthetic Drama
• The Integral vs. The Accidental Audience
• Selective Inattention: Ritualizing Aesthetic Drama
• 7: Ethology and Theater
• Animal–Human Performance Continuities
• Phatic Theater
• Lying and Pretending
• Ritualization, Blocked Display, and Performance
• Drama, Displacement, and Redirection
• Laughter and Freud
• In-Group, Out-Group
• Conclusions
• Notes
• 8: Magnitudes of Performance
• A Figure for All Genres
• Insiders, Outsiders
• Birdwhistell and Ekman
• The Natyasastra
• Lying and the Performer’s Three Halves
• Brain Lateralization and Performance
• Performativity, Theatricality, and Narrativity
• Notes
• 9: Rasaesthetics
• The Poetics and the Natyasastra
• Rasa, First Take
• Etymologies and Distanced Knowing
• The Pleasures of Rasic Performance
• Oral Pleasures, Rasically
• The Enteric Nervous System
• The Rasabox Exercise
• The Empty Box
• Rasaesthetics in Performance
• Notes
• References