1. Performing Jasmine Humanities and Social Science97

2. The Broad Spectrum of Performing • Performing in everyday life are a continuum. • There are no clear boundaries separating everyday life from family and social roles…. • “be myself” and “perform myself” • self-consciousness

3. Acting • From “minimal-acting” to “total acting.” • A continuum of acting passing through five nodal points.(Michael Kirby)(fig6.5) • 1.nonmatrixed performing-doing something onstage other than playing a character. • 2.symbolized matrix • 3.received acting-what “extras” do

4. 4.simple acting-simulation, impersonation • 5.complex acting-the whole being of the performer is called on at a high level of commitment.

5. Five kinds of acting • the congruence to daily life. • Actors may employ more than one kind of acting. • 1.realistic acting- • based on behavior in ordinary life. • Spectators need no special knowledge to understand. • Changes as social life changes.

6. The actors “disappears into the role.” • The actor’s own self is fused with the self of the character.(fig6.8) • 2.Brechtian Acting- • Emphasized both the meaning of the drama and the individual agency of the actor. • V-effekt : alienation • Inspired by Mei Lanfang.

7. 3.Codified Acting-jingju • Specific gestures, costumes, vocabulary, grammar. • Actors need years of training unlike realistic and Brechtian acting. • Different form daily behaviors. • Codified acting is present only when there is semiotic system of meaning separate from daily behavior.(p.158) • Not to change the former forms but to interprete.

8. Codified Acting and Ritual • Performing rituals is not “acting” at all in the theatrical. • Difference: • 1. The ritualist is himself in his designated role. • 2.The virtuosity of the performer as a stage presence is not highly prized in itself as it is in theatre.

9. Trance Acting • Performers are taken over by non-human beings. • Trance acting is the opposite of Brechtian acting. • The actor has little or no agency.