Theatre, Sacrifice, Ritual: Exploring Forms of Political Theatre

Fischer‐Lichte, Erika

doi:10.4324/9780203969304

Cited by 53 publications

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“…It is the performance which creates meaning, not a speech manuscript, but the way in which managers act in, and interact with, a specific surrounding. To apply this approach, the article introduces concepts of theatre research into organization studies, so that the whole aesthetic situation of a performance is perceived and evaluated as more than the simple sum of its parts (Fischer‐Lichte, 2005). In particular, it introduces concepts from the latest research on so‐called postdramatic performance developments (Lehmann, 2006) which, rather than focusing on dramatic theatre plots and stories, emphasizes the performers' presence and the situation of performance.…”

Section: Introductionmentioning

confidence: 99%

Business is Show Business: Management Presentations as Performance

Biehl-Missal¹

2011

Journal of Management Studies

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While there is continual scholarly interest in the 'organization as theatre' metaphor, extant dramaturgical perspectives limit the ability to account for aesthetic experiences in theatrical situations. This study provides a different methodological lens for looking at 'theatre' in organizations and illustrates that an inclusion of performance theory can be particularly valuable for understanding aesthetic techniques which are increasingly employed in organizations. Responding to calls for aesthetic studies, this article analyses large-scale management presentations such as annual general meetings, press conferences, and analyst meetings 'as performance' instead of re-labelling them as if they were drama. Drawing on the latest theatre theory and introducing a tool for performance analysis, the study accounts for the aesthetic experience and describes the complex interplay of scenography, lighting, clothing, managers' performance style, rhetoric, and audience interaction, showing that these organizational events are co-created and contested theatrical performances with a potential for resistance and possible change as well as for persuasion.

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Section: Introductionmentioning

confidence: 99%

Business is Show Business: Management Presentations as Performance

Biehl-Missal¹

2011

Journal of Management Studies

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“…Following Victor Turner and Richard Schechner, Erika Fischer-Lichte ascertains that trance and ritual mark a potentially given transformative force in theater, manifest as aesthetic experience and advanced as a central theme in transformational and performative theater aesthetics. See Fischer-Lichte (2005) and Turner (1969; 2009) as well as Schechner (1991) and Warstat (2013). The aesthetic disposition of depictions of trance comes with specific scopes of experience, falling somewhere between excitement and moments of shock.…”

Section: Notesmentioning

confidence: 99%

Aesthetic Strategies ofTrance-gression: The Politics of Bodily Scenes of Ecstasy

Huschka¹

2019

Dance Res. J.

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Choreographic bodies are empowered by modes of expansion and transgression. Focusing on the energetic processes that lead to such empowerment, this article discusses the perceptual politics of trancelike scenes in the work of contemporary European choreographers and performers. As a body-mobilizing choreographic strategy of out-of-body and out-of-mind experiences, trance is closely linked to critical and utopian ideas, bodily transgressions, and crossed boundaries. While Mary Wigman treats trance as an incantation which contains the powers that it unleashes, contemporary choreographers like Doris Uhlich or Meg Stuart, expose the body to powers that nearly disintegrate it. As opposed to Wigman-style modernism, contemporary dance stages movement as a tremendous event that exposes performers and audiences to experiences of transgression.

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“…10 Tiesa, netrukus galingai driokstelėjusi "pompeziška" Maironio "Kęstučio mirtis" (1924; rež. Borisas Dauguvietis), atrodo, šiek tiek apmalšino besitvenkiantį šventiško tautinio teatro ilgesį: šiuo pastatymu, kaip teigė Lietuva, "mūsų Valstybės Drama pagaliau parodė tikrai suprantanti lietuvių dvasios, šių dienų dvasios reikalavimus, mūsų troškimą sukurti tikrąjį lietuviškumą, tautos idealams ir siekimams viso labiausiai atatinkantį meną" 11 . Tačiau šios viltys nepasiteisino -žlugo, nė nespėjusios išsiskleisti.…”

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Miraculous Lithuania: the national open-air mysteries in Lithuania between the wars

Trinkūnaitė¹

2017

menotyra

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In the wake of the wave of disappointment with the patriotic repertoire of the new-established State Theatrewhich seemed not to respond to the desire of the celebrating nation, an alternative theatre – theatre of national mass open-air mysteries, mostly organized by the Christian youth organization – came to life in Lithuania in the 1920-ies and gained in popularity. These celebratory performances were devoted to the synthesis of Christian and national ideologies; their main subject was the rebirth of Lithuania as a God’s miracle. This miraculous Lithuania was supposed to become a real experience, i.e. the masses participating in these performances were supposed to be like a continuation of the sacred, blessed-by-God Lithuania represented in the mass hero (chorus) of the plays. However, this turned out to be an utopic project. Miraculuos Lithuania was too inconvincible, too artificial, at a too big distance from the real Lithuania to become a model for the living present. That was one of the main reasons why the national open-air mysteries turned into the lifeless pathetics in the end of the1920-ies and started to vanish in the beginning of the 1930-ies.

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Theatre, Sacrifice, Ritual: Exploring Forms of Political Theatre

Cited by 53 publications

References 0 publications

Business is Show Business: Management Presentations as Performance

Business is Show Business: Management Presentations as Performance

Aesthetic Strategies ofTrance-gression: The Politics of Bodily Scenes of Ecstasy

Miraculous Lithuania: the national open-air mysteries in Lithuania between the wars

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