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Theatre Research International Vol. 19 No. 1 pp 1-8
Foreword
On stage, in the wings, in the audience and out- Rarely is theatre studied as such by an-
side: these are the spaces ethnologists and thropologists (with notable exceptions, in-
anthropologists traverse in the practice of cluding the work of Peacock [1968] 1987 and
fieldwork and writing—metaphorically, as par- Fabian 1990); most often it is employed as a
ticipant-observers within a given community, metaphor for more or less codified practices,
or literally, if they study theatre forms. such as rituals, diffused in the flux of social life
Immersion in another community or society or crystallized during crucial moments in a com-
(with the consequent blurring of exoticism), munity's history. Some rites actually raise the
purposeful distancing in time and space (rival- question of their status as performing arts (see
ling with empathy generated by field presence), Macdonald 1990, 1993). Much can be learned
systematic investigation of selected themes, and from anthropological studies of rituals and other
constant striving to have theory inform data and genres involving a loose definition of 'theatri-
perceptions of the objects of study—all these cality' (carnivals, processions, sports, oral
aspects of the anthropological method can be ap- literature, artifacts such as masks, and so on).
plied, in a given society, just as effectively to At the same time, observation and reflection on
theatre as to those institutions (matrimonial, the 'restored behaviour' (Schechner 1982) which
political, economic or religious, among others) is theatre has much in common with the very
usually studied by ethnologists. A circum- nature of ethnological work devoted to the deci-
scribed object, but one with complex implica- phering of behaviour, codes, references and roles
tions for individuals and groups, theatre is a which are most often foreign to the researcher.
sophisticated, often useful means of access to Recent developments in some sectors of
understanding society, or at least a key to American cultural anthropology demonstrate
reading the combinatory diversity of a com- this rapprochement. The work of Turner (e.g.,
munity's functioning, its history, its material 1974, 1982, 1985) on the links between
production and technology, its cognitive orien- aesthetic dramas, 'social dramas,' and rituals,
tations. Building on the necessary contextual within the framework of an 'anthropology of
analyses revealing the social, political and performance,' itself included in an 'an-
economic underpinnings of theatre forms, thropology of experience' (Turner and Bruner
developing the concept of an expressive or 1986), has even led to 'ethnodramaturgies' or
aesthetic system in which theatre is but one ele- 'performing ethnography' in which an
ment interacting with other artistic productions ethnography is acted out. Turner defined his ap-
or practices within a given society, and testing proach as inspired by 'processual' (or
the concept through intercultural comparison, postmodern) and reflexive symbolic analysis,
the horizons for theatre anthropology are broad with particular emphasis placed on moments of
enough. crisis experienced by a social group and
transcribed in ritual, which he understood as 'a
Attempting a more modest beginning, this kind of meta-theatre' (1985:181). Turner en-
special issue seeks to portray a special moment, visaged 'a creative collaboration among literary
a meeting between anthropology and theatre in critics, anthropologists, sociologists, historians,
a fertile, though underdeveloped field of study, art historians, philosophers, historians of
with contributions from both anthropologists religion, and other kinds of scholars'
and theatre scholars. The articles that follow (1985:166-7). Bruner presents work from a
provide a glimpse of the varied efforts being group of scholars sharing this view and belong-
made to understand the relationships between ing to 'a data-based social or cultural an-
theatre and certain places or times where it is thropology with a marked interpretive bent'
emerging.
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(1984:13). Following Geertz (1973, and for tioners themselves, will not lose sight of actual
theatre as metaphor, 1980), the postmodern cur- theatre practice, played out in bodies, minds and
rent in American anthropology, nourished by spaces. Fieldwork, so important to Turner, and
recent development in linguistics, literary characteristic of ethnologists (Peacock 1986:
criticism and semiotics, and drawing extensively 58-65) is the counterpart to this experi-
on French literature and philosophy, has been mentation and technical comprehension.
engaged in textual, dialogical and sometimes
'dramatist' experiments (see, notably, Clifford The development of anthropological study of
and Marcus 1986, Clifford 1989). The approach theatre, rich with multidisciplinary input,
has provoked lively debates on postmodernism enables both theatre studies and anthropology to
and meta-anthropology, as well as on the scien- create a new field of investigation centred as
tific bases of anthropology (e.g., Carrithers much on social as on theatrical facts, both in
1990, Sangren 1988, Spaulding 1988, Fox 1991). terms of data collection and analytical focus.
From sociology and social psychology, work in- This volume is but one step forward in the
spired by Goffman (1959, 1974) on the notion of discussion between scholars of different back-
performance and dramaturgy applied to daily life grounds. It cannot present an exhaustive treat-
continues the method of theatrical metaphor to ment of all possible research strategies, and
explain a multitude of social and psychological geographical coverage is unequal.
processes (Brissett et Edgley 1990). The volume begins with an epistolary dia-
logue devoted to an autobiographical retrospec-
The dialogue between theatre and social science tion by the anthropologist James L. Peacock,
research has been initiated in several manners. whose fieldwork and dissertation on an Indone-
Schechner worked for the emergence of a perfor- sian theatre genre, the Surabaya ludruk, fur-
mance theory anchored in the social sciences nished the material for a pioneer work in theatre
(1973, 1988) and, following Turner, defined the anthropology which has had a profound in-
terms of a co-operative effort between theatre fluence on symbolic anthropology, verbal and
scholars and anthropologists (1985:25). Fiebach non-verbal communication and social change
(1990) further indicated directions in which an- studies. Peacock was to conclude ([1968] 1987:
thropology could contribute to theatre studies. 255-6) that 'ludruk and society are assigned
Contemporary with the foregoing schools of equal weight, and analysis of their interaction is
academic thought, while coming from the field an essential way of grasping the dynamics of
of theatrical practice, one must not fail to men- changes in either.'
tion what Pavis (1990) refers to as 'the con- Barbara Hatley explores, using a sociological
vergence of cultures in contemporary theatrical and anthropological approach, how Indonesian
work' in the West (encompassing that of contemporary theatre develops a particular
Barba, Brook, Grotowski or Mnouchkine, for idiom in its form, its themes, and its roles, and
example), an exchange in which he sees the how, with its own political aspirations, it
source of a theory of interculturalism. Barba reinterprets local cultural tradition in a paradox-
(1982) defines his approach as a 'theatre an- ical context of national modernization and
thropology' without devotion to academic vigorous invoking of 'tradition' by governing
cultural anthropology, yet based on empirical, circles. The example of a performance in Cen-
practical, and comparative study of the body tral Java illustrates this process which combines
techniques of Western and Eastern actors and regional expressions with Indonesian language,
dancers, with the aim being to discover 'know- popular with classical culture, reference to cur-
ledge which can be useful to a performer's work' rent affairs with age-old proverbs, rock music
(Barba 1991:8). Similarly, Richmond et al. with gamelan, suggesting a complex experience
(1990) and Zarrilli (1984) explore the theatrical of 'modernity' for its youthful players and their
techniques and traditions of the Indian subcon- audiences.
tinent. This continuing dialogue with theatre
practitioners and theoreticians perhaps ensures Stacy Wolf applies ethnographic tools to the
that anthropologists, who are not always practi- study of the production of Etta fenks and
its reception at the university theatre of her
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own campus (Wisconsin-Madison) from a post- First, far from considering artistic practices
modern, reflexive and feminist perspective. By as so many refuges from a changing reality or
analysing the reactions of student-spectators, as enshrining the notions of timelessness,
the author/teacher/assistant director concludes exoticism, and authenticity, theatre is ap-
that their reading strategies are conventional and prehended as decidedly evolving and diversified.
tend to reinforce their perceptions on theatre, This approach also applies to Asian theatres
morality, pornography and gender roles, de- (see, for example, Gunawardana 1977). Pro-
spite theatrical endeavours to destabilize refer- blematic connotations of culture, homo-
ential categories. She invites critical pedagogy geneity, coherence, and timelessness (Abu-
in theatre studies to pay greater heed to student Lughod 1991: 154) are likewise problematic of
and audience interpretation as an active force, theatre. The diversity inherent in every complex
here revealed through ethnographic methods. society is apparent in all the articles, which
show how social groups and political and
Elie Konigson combines historical and an-
religious forces produce, mould, and interpret
thropological analysis in a new approach to their theatre.
dramatized space, based on examples from
fifteenth- and sixteenth-century European A second concern, present in different forms
religious theatres. He traces a structural filia- in each of the articles, is not to disjoin theatre
tion between the residential area, the urban practice and its socio-political context, but to
space and the theatrical space, in particular the take full account of omnipresent power rela-
essential role of the 'hall-courtyard-square' tions, avoiding the political naivete or 'non-
matrix in the symbolic activities of social committal aestheticism' denounced by Fabian.
groups, in the construction of living spaces, and As he reminds us, 'fascination with the com-
in their utilization as theatrical spaces. municative, aesthetically creative, inspiring,
Dramatized rituals in churches are to be and entertaining qualities of cultural perfor-
distinguished from religious theatre played in mances all too easily makes us overlook that the
the town. The manipulation of social, symbolic, people who perform relate to each other and to
and urban space is played out in the same man- their society at large in terms of power' (Fabian
ner in the theatrical spaces. Whether the body 1990:17). Power defines the social and religious
be that of an actor or a condemned man, it is put group strategies of a medieval society in their
on stage at the same place, in the square. organization of theatrical space (Konigson), the
Konigson confirms the hypothesis of a generic 'referential' or self-censure strategies of com-
space satisfying multiple functions of the town, munities and troupes in the face of political
including dramatic ones. surveillance (Hatley, Bouvier), the interpretive
strategies of spectators confronted with jumbled
In the final article, I analyse an example of gender casting (Wolf).
loddrok popular theatre from the island of
Madura, in Indonesia, focusing on acting style: Thirdly, wary of the finished product that a
how does the manipulation of linguistic, vocal theatre audience discovers, the authors attempt
and gesture codes identified with stock to retrace certain stages in its elaboration
characters fit into evolving 'traditional' theatre through a processual approach which goes
practice? Clown parodies on daily life, and the beyond the text. They accomplish this by explor-
stylization of a fantasy past, all proposed by an ing the various phases involved in the construc-
innovative scriptwriter, weave together social tion and reception of a play (Wolf), the critical
and cultural references, expressive codes and ac- work done on 'traditional' scripts (Hatley), the
'dramatisation' of a space (Konigson), and the
tor improvisation. In this ethnographic essay, I relationship between dramatic canvas and acting
try to show how acting style serves as a tangible style (Bouvier).
medium between a community of spectators Finally, the triad—form, meaning, and con-
and the staging of fragments of contemporary or text (Peacock 1990:220)—is addressed by the
bygone society. authors who, without 'sociologizing the con-
Reflecting various approaches, these articles cept of performance' (Fabian 1990:13), ap-
show certain theoretical and methodological con- prehend theatre through its material and
vergences. At least four are worth mentioning: aesthetic aspects, its symbolic and inter-
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pretative dimensions, its social and political tions artistiques de la societe consideree—, puis
references. passer a la comparaison interculturelle, con-
I should like to take this opportunity to thank tribuerait a l'emergence d'une anthropologie du
the editorial committee of Theatre Research In- theatre, et plus globalement, des arts.
ternational for having offered a forum for these Plus modestement, ce numero special veut
exchanges between anthropology and theatre. rendre compte d'un moment privilegie, celui de
As invited editor, it is a pleasure to acknowledge la rencontre de 1'anthropologie et du theatre,
their help and guidance, as well as that of the dans un champ d'etude encore en cours de
reviewers and translators. Let us hope that this defrichement, tant du cote de 1'anthropologie
combined effort and the contributions herein que de celui des etudes theatrales. Les articles
will strengthen the conviction expressed by qui suivent sont un echo de ces efforts varies
Wolf that 'theatre studies and anthropology vers la comprehension des rapports entre le
have much to say to each other'. theatre et les lieux ou les epoques ou il se
Helene Bouvier developpe.
Introduction
Le theatre est rarement etudie en tant que tel par
Sur scene, en coulisses, dans la salle et en les ethnologues (avec de notables exceptions,
dehors: tels sont les espaces que l'ethnologue et comme les travaux de Peacock [1968] 1987, et
l'anthropologue arpentent dans leur pratique de de Fabian 1990), et plus souvent utilise comme
terrain et d'ecriture, metaphoriquement, com- metaphore de pratiques plus ou moins codifiees,
me participants et observateurs au sein d'une comme les rituels, diffuses dans le flux de la vie
communaute donnee, ou bien reellement, s'ils sociale, ou cristallisees, dans les moments
se consacrent a l'etude du theatre. cruciaux de l'histoire d'une communaute. Et
L'immersion dans une communaute ou une certains rites posent la question de leur statut
societe autre (dont s'estompe alors l'exotisme), d'art du spectacle (voir Macdonald 1990, 1993).
l'exercice de distanciation par rapport a celle-ci L'approche anthropologique des rituels et
dans le temps et dans l'espace (en tension con- d'autres genres manifestant une certaine 'thea-
tradictoire avec la sympathie creee par la fre- tralite' (carnavals, processions, sports, littera-
quentation du terrain), l'etude systematique des ture orale, artefacts tels que les masques, etc.)
themes choisis et le maintien de references peut aussi enrichir le champ des etudes thea-
soutenues entre objet d'etude et theorisation— trales. En meme temps, l'observation et la refle-
toute cette methode anthropologique peut aussi xion sur ces «comportements restitues»
bien s'appliquer aux institutions (matri- (Schechner 1982) qui constituent le theatre ont
moniales, politiques, economiques ou reli- bien des points communs avec la nature meme
gieuses, par exemple) favorites des travaux du travail ethnologique qui se consacre au
des ethnologues, qu'a cette institution sociale et dechiffrement de comportements, de codes, de
culturelle particuliere qu'est le theatre. Objet references et de roles le plus souvent inhabituels
d'etude circonscrit mais aux longues ramifica- pour le chercheur.
tions tant vers le groupe que vers l'individu, le Les derniers developpements d'une partie de
theatre est une voie d'acces sophistiquee, mais 1' anthropologie culturelle americaine refletent
utile, pour la comprehension d'une societe, d'ailleurs ce rapprochement. Les travaux de
peut-etre meme une clef de lecture qui ouvre les Turner (1974, 1982, 1985, entre autres) sur les
champs diversement combines du fonctionne- relations entre drames esthetiques, «drames
ment d'une communaute, de son histoire, de ses sociaux» et rituels, dans le cadre d'une «an-
techniques materielles et de ses choix cognitifs. thropologie de la performance*, elle-meme in-
Outre 1'indispensable analyse contextuelle qui cluse dans une «anthropologie de 1'experiences
revele les ancrages sociaux, politiques et (Turner et Bruner 1986), ont meme debouche
economiques du theatre, travailler l'idee d'un sur des «ethnodramaturgies» dans lesquelles
veritable systeme esthetique et expressif dans l'ethnographie est jouee et representee. Turner
lequel le theatre s'insere et s'articule avec les definissait sa demarche comme relevant de
autres elements—les autres pratiques et produc- l'analyse symbolique processuelle (c'est-a-dire
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postmoderne) et reflexive, avec un interet par- appelle «le croisement des cultures dans le
ticulier pour les moments de crise vecus dans un travail theatral contemporain* occidental (celui
groupe social et transcrits dans un rituel, qu'il de Barba, Brook, Grotowski ou Mnouchkine,
concevait comme une sorte de metatheatre* par exemple), et dans lequel il voit la source
(1985: 181). Turner envisageait egalement une d'une theorie de l'interculturalisme. Barba
(collaboration creative entre critiques litte- (1982) se reclame d'une «anthropologie du
raires, anthropologues, sociologues, historiens, theatre* qu'il ne situe pas dans le champ clas-
historiens de l'art, philosophes, historiens de la sique de l'anthropologie culturelle, et privilegie
religion, et d'autres sortes de chercheurs» (1985: 1'etude empirique, pratique et comparee des
166-7). Bruner presente un ensemble de travaux techniques du corps des acteurs et danseurs
apparentes a cet esprit, comme appartenant a occidentaux et orientaux, en vue d'«une
une «anthropologie sociale ou culturelle fondee connaissance qui soit utile au travail de
sur des donnees, avec une inflexion inter- l'acteur/danseur» (Barba 1991: 8). De meme,
pretative marquee* (1984:13). A la suite de Richmond et al. (1990) et Zarrilli (1984)
Geertz (1973 et, pour une metaphore du theatre, explorent les techniques et les traditions
1980), le courant postmoderniste de l'anthro- theatrales du continent indien. Ce dialogue avec
pologie americaine (voir notamment, Clifford des praticiens et theoriciens du theatre garantit
1988, et, Clifford et Marcus 1986), nourri par les peut-etre aux anthropologues, qui ne sont pas
developpements recents venus de la linguis- toujours praticiens, une demarche qui ne perd
tique, de la critique litteraire et de la semiotique, pas le contact avec la pratique reelle et vivante
et puisant abondamment dans la production du theatre, inscrite dans des corps, des
litteraire et philosophique francaise, s'est psychismes et des espaces. Le travail de terrain,
engage dans une experience textuelle, dialogi- si cher a Turner et specifique aux ethnologues
que et parfois «dramatiste». Cette approche (Peacock, 1986: 58-65) est le pendant de cette
provoque de vifs debats tant sur le post- experimentation et de cette comprehension
modernisme et la meta-anthropologie que sur techniques.
les fondements scientifiques de l'anthropologie
(Carrithers 1990, Sangren 1988, Spaulding 1988,
Ainsi, cette genese de 1'etude anthropologique
Fox 1991). Du cote de la sociologie et de la
du theatre, riche d'apports disciplinaires
psychologie sociale, les travaux inspires par
multiples permet, tant aux etudes theatrales
Goffman (1959, 1974) sur la notion de perfor-
qu'a l'anthropologie, de developper desormais
mance et de dramaturgic appliquee a la vie
un nouveau champ d'investigation qui s'in-
quotidienne continuent la voie da la metaphore
teresse autant au fait theatral qu'au fait social,
theatraJe pour 1'explication de multiples pro-
tant sur le plan des donnees que sur celui
cessus sociaux et psychologiques (Brissett et
de l'analyse et de l'explication. Ce numero
Edgley 1990).
n'est qu'une etape dans la discussion entre
chercheurs venus d'horizons differents. II
Le dialogue entre recherches sur le theatre et ne presente pas de maniere exhaustive toutes
sciences sociales s'est engage de plusieurs les directions de recherche possibles, et
manieres. Schechner a travaille a 1'emergence ne couvre qu'une partie seulement des aires
d'une theorie de la performance qui puise dans geographiques.
les sciences sociales (1973, 1988) et, dans le II debute par un dialogue epistolaire consacre
sillage de Turner, defini les termes d'une a une retrospection autobiographique de l'an-
veritable collaboration entre specialistes du thropologue fames L. Peacock, dont le travail de
theatre et anthropologues (1985: 25). Fiebach terrain et la these sur un genre theatral indone-
(1990) indique aussi certains axes d'une con- sien, le ludruk de Surabaya, avaient fourni
tribution de l'anthropologie aux etudes matiere a un travail pionnier en anthropologie
theatrales. Contemporain des courants de du theatre qui a eu une profonde influence sur
pensee academiques mentionnes plus haut, tout l'anthropologie symbolique, les etudes sur la
en relevant du champ de la pratique theatrale, il communication verbale et non-verbale, et les
faut egalement mentionner ce que Pavis (1990) changements sociaux. Deja, Peacock concluait
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([1968)1987: 255-6): «le ludiuk et la societe du theatre a thematique religieuse, joue dans la
se sont vu assigner un poids egal, et l'analyse ville. La manipulation de l'espace urbain, social
de leur interaction est une voie essentielle et symbolique, s'exerce de la meme facon sur les
pour saisir leurs dynamiques de changement espaces de jeu. Et le corps, celui de l'acteur ou
respectives*. du supplicie, est mis en scene sur la place, dans
Barbara Hatley explore, dans une approche un meme espace. L'auteur confirme l'hypothese
sociologique et anthropologique, comment le d'un espace generique qui rendrait compte des
theatre contemporain indonesien developpe un fonctions multiples, y compris dramatiques, de
idiome particulier dans sa forme, ses themes et la ville.
ses roles, et comment, avec ses propres aspira- Dans le dernier article, j'analyse un spectacle
tions politiques, il reinterprete la tradition de theatre populaire madourais (Indonesie), le
culturelle locale, dans un contexte paradoxal de loddrok, sous Tangle du jeu des acteurs: com-
modernisation nationale et d'invocation de la ment leur manipulation des codes linguistiques,
«tradition» par certains milieux, notamment of- vocaux et gestuels attaches a des personnages-
ficiels, de la societe indonesienne. L'exemple types s'insere-t-elle dans une pratique theatrale
d'un spectacle a Java central illustre ce pro- «traditionnelle» en pleine evolution? La parodie
cessus qui combine les expressions regionales et des clowns sur le quotidien, et la stylisation sur
la langue nationale, les cultures populaire et un passe fantaisiste proposee par un scenariste
classique, les references a 1'actualite et les pro- novateur, tissent ensemble les references
verbes seculaires, la musique rock et le sociales et culturelles, les codes expressifs et les
gamelan, et livre 1'experience complexe de ces improvisations des acteurs. Dans cet essai
jeunes troupes et de leurs publics. ethnographique, je tente de montrer comment le
Stacy Wolf applique une methode ethno- jeu des acteurs sert concretement de medium
graphique a 1'etude de la production et de la entre une communaute de spectateurs et la mise
reception de la piece Etta Jenks au theatre uni- en scene de fragments de societe contemporaine
versitaire de son propre campus, a Wisconsin- et ancienne.
Madison, dans une perspective postmoderniste,
reflexive et feministe. En analysant les reactions Ces quelques articles refletent des approches
et les reponses des etudiants-spectateurs, variees tout en ayant certaines convergences
l'auteur/enseignante/assistante du metteur en theoriques et methodologiques. On peut en
scene arrive a la conclusion que leurs strategies degager au moins quatre:
de lecture sont conventionnelles et renforcent Un premier point commun est celui de la
leurs preconceptions sur le theatre, la moralite, comprehension d'une pratique culturelle, en
la pornographie et les roles sexuels, en depit l'occurrence le theatre, comme etant a la fois
d'un effort complexe de destabilisation des mouvante et diversifiee. Il ne s'agit pas d'etudier
cadres de reference. L'auteur invite la pedagogie une pratique artistique comme un refuge par
critique, dans les etudes theatrales, a prendre rapport a une realite qui change ou qui defie les
plus en compte les interpretations des etudiants notions de l'immuable, de l'exotique et de
et des spectateurs, force active revelee ici par la l'authentique. Cette approche s'applique aussi
methode ethnographique. aux theatres asiatiques (Gunawardana, 1977).
Elie Konigson conjugue l'analyse historique et Connotations problematiques de la culture
anthropologique, dans une nouvelle approche de (Abu, 1991: 154), homogeneite, coherence et
l'espace dramatise, en s'appuyant sur l'exemple durabilite le sont egalement dans le theatre. Et
des theatres a thematique religieuse des XVeme la diversite inherente a toute societe complexe
et XVIeme siecles, dans l'Europe continentale. est apparente dans tous les articles, qui mon-
L'auteur degage une filiation structurelle entre trent comment des groupes sociaux, des forces
la demeure, l'espace urbain et l'espace theatral, politiques et religieuses modelent, produisent et
une «matrice salle-cour-place» ou se constituent interpretent leur theatre.
les espaces vecus, les espaces de jeu et les Un deuxieme souci, present de maniere
decoupages symboliques. Les rituels dramatises, differente dans chacun des articles, consiste a ne
integres au cadre ecclesiastique, se distinguent pas isoler la pratique theatrale de son contexte
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socio-politique (Zarrilli, 1992), et a prendre en Barba, Eugenio and Nicola Savarese. The Secret Art of the
compte les relations de pouvoir omnipresentes Performer. A Dictionary of Theatre Anthropology. London
pour eviter la «naiivete politique» ou 1' «esthetisme and New York: Routledge, 1991.
Brissett, Dennis and Charles Edgley, eds. Life as Theater. A
distant* denonces par Fabian (1990: 17, 19). Dramaturgical Source Book. New York: Aldine de Gruyter,
Ainsi s'elaborent les strategies des groupes 1990.
sociaux et religieux d'une societe medievale Bruner, Edward M., ed. Text, Play, and Story: The Construc-
pour l'organisation de l'espace theatral tion and Reconstruction of Self and Society. Washington:
(Konigson), les strategies «referentielles» ou The American Ethnological Society, 1984.
Carrithers, Michael, 'Is Anthropology Art or Science?'. Cur-
d'autocensure des communautes et des troupes rent Anthropology 31.3 (1990]: 263-282.
sous surveillance politique (Hatley, Bouvier), Clifford, James. The Predicament of Culture. Twentieth-
les strategies interpretatives de spectateurs dont Century Ethnography, Literature, and Art. Cambridge:
on a bouleverse les stereotypes sur les roles Harvard University Press, 1988.
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Geertz, Clifford. Negara. The Theatre State in Nineteenth-
texte (Peacock, 1990: 220) est saisie d'emblee Century Bali. Princeton: Princeton University Press, 1980.
par les auteurs qui, sans «sociologiser le concept Goffman, Erving. The Presentation of Self in Everyday Life.
de performance» (Fabian, 1990: 13), apprehen- Garden City: Doubleday, 1959.
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feminin de Punang-Ira'rdj, Palawan, Philippines. Paris: Edi-
Je tiens a remercier chaleureusement le comite tions du CNRS, 1990.
editorial de Theatre Research International pour Macdonald, Charles. 'Philosophes ou artistes? Comparaison
avoir offert ses pages a ces echanges entre an- des formes rituelles a Palawan.' L'Homme 33.1 (1993]:
thropologie et theatre, et pour le soutien et 7-29.
l'aide qu'il a prodigues a l'editeur invite, de con- Pavis, Patrice. Le theatre au croisement des cultures. Paris:
cert avec les lecteurs et les traducteurs. Esperons Jose Corti, 1990.
Peacock, James L. Rites of Modernization. Symbols and
que cet effort conjoint, et les contributions des Social Aspects of Indonesian Proletarian Drama. Chicago:
auteurs, consolident la conviction exprimee par The University of Chicago Press, [1968] 1987.
Wolf: «Les etudes theatrales et l'anthropologie Peacock, James L. The Anthropological Lens. Harsh Light,
ont beaucoup de cnoses a se dire.» Soft Focus. Cambridge: Cambridge University Press, 1986.
Peacock, James L. 'Ethnographic Notes on Sacred and Pro-
Helene Bouvier fane Performance.' By Means of Performance. Intercultural
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References WillaAppel. Cambridge: Cambridge University Press, 1990:
208-220.
Abu-Lughod, Lila. 'Writing Against Culture.' Recapturing Richmond, Farley P., Darius L. Swann, and Phillip B. Zar-
Anthropology. Working in the Present. Ed. Richard G. Fox. rilli, eds. Indian Theatre. Traditions of Performance.
Santa Fe, New Mexico: School of American Research Press, Honolulu: University of Hawaii Press, 1990.
1991. Sangren, P. Steven. 'Rhetoric and the Authority of
Barba, Eugenio, 'Theatre Anthropology.' The Drama Review Ethnography: 'Postmodernism' and the Social Reproduction
26.2 (1982): 5-32. of Texts.' Current Anthropology 29.3 (1988): 405-435.
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Schechner, Richard, 'Performance and the Social Sciences.' Ph.D. dissertation focussed on the central Javanese popular
and 'Drama, Script, Theatre, and Performance.' The Drama theatre form kethoprak. More recently, she has been carry-
Review 17.3 (1973): 3-36. ing out research on modern Indonesian language theatre in
Schechner, Richard. 'Collective Reflexivity: Restoration of Central Java, Jakarta and other regional centers. Her recent
Behavior.' A Crack in the Mirror. Reflexive Perspectives in publications include 'Contemporary Indonesian Theatre as
Anthropology. Ed. fay Ruby. Philadelphia: University of Cultural Resistance' in A. Budiman, ed. State and Civil
Pennsylvania Press, 1982. Society in Indonesia (1990), 'Theatrical Imagery and Gender
Schechner, Richard. Between Theater and Anthropology. Ideology in Java' in J. Atkinson and S. Errington, eds. Power
Philadelphia: University of Pennsylvania Press, 1985. and Difference: Gender in Island Southeast Asia (1991), and
Schechner, Richard. Performance Theory. London: 'Construction of Tradition in New Order Indonesian
Routledge, 1988. Theatre' in V. Matheson-Hooker, ed. Culture and Society in
Spaulding, Albert C. 'Distinguished Lecture: Archeology New Order Indonesia (1993).
and Anthropology.' American Anthropologist 90.2 (1988):
263-271.
Turner, Victor W. Dramas, Fields, and Metaphors. Symbolic Elie Konigson, Docteur d'Etat es Lettres and Director of
Action in Human Society. Ithaca: Cornell University Press, Research at the Centre National de la Recherche Scienti-
1974. fique, is in charge of the Performing Arts Research
Turner, Victor W. From Ritual to Theatre. The Human Laboratory in Paris, heads its team 'History and An-
Seriousness of Play. New York: Performing Arts Journal, thropology of Theatre, Performance and Festivals' and edits
1982. the 'Performing Arts' series. His research interests include
urban dramatized spaces and the anthropology and history of
Turner, Victor W. On the Edge of the Bush. Anthropology as
performing arts. Among his many works, he has authored
Experience. Tucson: The University of Arizona Press, 1985.
L'espace theatral medieval (1975), and recently co-authored
Turner, Victor W. and Edward M. Bruner, eds. The An-
Le theatre dans la ville (1987) and Images de la ville sur la
thropology of Experience. Urbana: University of Illinois
scene (1991).
Press, 1986.
Zarrilli, Phillip. The Kathakali Complex. Actor, Perfor-
mance and Structure. New Delhi: Abhinav Publications, James L. Peacock received his Ph.D. in Anthropology from
1984. Harvard University for his thesis on the Indonesian popular
Zarrilli, Phillip. 'Contested Narratives on and off the theatre genre ludruk. He has since been investigating
Kathakali Dance-Drama Stage.' Modem Drama 35.1 (1992): religion, psychology and culture in Southeast Asian and
101-116. North American settings. At the University of North
Carolina at Chapel Hill he is Kenan Professor of Anthro-
Notes on Contributors pology. He was recently elected President of the American
Anthropological Association. Among his numerous books
Helene Bouvier is a member of the Southeast Asian and and articles: Rites of Modernization: Symbolic and Social
Austronesian Laboratory in Paris and is associated with the Aspects of Indonesian Proletarian Drama ([1968] 1987), Con-
Performing Arts Research Laboratory and the Southeast sciousness and Change: Symbolic Anthropology in Evolu-
Asian Research Institute. Her doctoral thesis in Ethnology tionary Perspective (1975), The Anthropological Lens: Harsh
at the Ecole des Hautes Etudes en Sciences Sociales on Light, Soft Focus (1986).
Madurese music and performing arts is about to be pub-
lished. In addition to articles in collective works, she has
written on theatre in Asie du Sud-Est et Monde Insulindien, Stacy Wolf is a Ph.D. candidate at the University of
and Nordic Theatre Studies. Wisconsin-Madison. Her dissertation analyses theatre
audiences at five sites in Madison. She has published articles
Barbara Hatley teaches Indonesian language, literature and in Theatre Studies, Women and Performance, and the Jour-
cultural studies at Monash University in Melbourne. Her nal of Dramatic Theory and Criticism.
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