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 | | As I have suggested, some strange loops between performance and technology were installed very early on in the formation of the field, loops which can be traced to the first theorist Schechner lists in his outline of performance studiesÕ intellectual history: Gregory Bateson. |
 | | In fact, restored behavior can be thought of as the ÒmicroÓ loop within an immense feedback system whose ÒmacroÓ loops Schechner began inventing earlier in his career: the relations of entertainment and efficacy, of aesthetic and social drama, and of theatre and ritual were all theorized using feedback concepts. |
 | | These loops, formative to the performance studies paradigm, situate the embodied, transformational practices of performance somewhere between those of ritual and theatre, in a liminal space of historic proportions. |
| www.nyu.edu /classes/bkg/pise.txt (6405 words) |
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