The Roots of Theatre Rethinking Ritual and Other Theories of Origin
The topic of the origins of theatre is one of the most controversial in theatre studies, with a long history of heated discussions and strongly held positions. InThe Roots of Theatre, Eli Rozik enters the debate in a feisty way, offering not just another challenge to those who place theatre's o...
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|---|---|
| Format | eBook |
| Language | English |
| Published |
Chicago
University of Iowa Press
2005
University Of Iowa Press |
| Edition | 1 |
| Series | Studies Theatre Hist & Culture |
| Subjects | |
| Online Access | Get full text |
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| Abstract | The topic of the origins of theatre is one of the most controversial in theatre studies, with a long history of heated discussions and strongly held positions. InThe Roots of Theatre, Eli Rozik enters the debate in a feisty way, offering not just another challenge to those who place theatre's origins in ritual and religion but also an alternative theory of roots based on the cultural and psychological conditions that made the advent of theatre possible.
Rozik grounds his study in a comprehensive review and criticism of each of the leading historical and anthropological theories. He believes that the quest for origins is essentially misleading because it does not provide any significant insight for our understanding of theatre. Instead, he argues that theatre, like music or dance, is asui generiskind of human creativity-a form of thinking and communication whose roots lie in the spontaneous image-making faculty of the human psyche.
Rozik's broad approach to research lies within the boundaries of structuralism and semiotics, but he also utilizes additional disciplines such as psychoanalysis, neurology, sociology, play and game theory, science of religion, mythology, poetics, philosophy of language, and linguistics. In seeking the roots of theatre, what he ultimately defines is something substantial about the nature of creative thought-a rudimentary system of imagistic thinking and communication that lies in the set of biological, primitive, and infantile phenomena such as daydreaming, imaginative play, children's drawing, imitation, mockery (caricature, parody), storytelling, and mythmaking. |
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| AbstractList | The topic of the origins of theatre is one of the most controversial in theatre studies, with a long history of heated discussions and strongly held positions. InThe Roots of Theatre, Eli Rozik enters the debate in a feisty way, offering not just another challenge to those who place theatre's origins in ritual and religion but also an alternative theory of roots based on the cultural and psychological conditions that made the advent of theatre possible.
Rozik grounds his study in a comprehensive review and criticism of each of the leading historical and anthropological theories. He believes that the quest for origins is essentially misleading because it does not provide any significant insight for our understanding of theatre. Instead, he argues that theatre, like music or dance, is asui generiskind of human creativity-a form of thinking and communication whose roots lie in the spontaneous image-making faculty of the human psyche.
Rozik's broad approach to research lies within the boundaries of structuralism and semiotics, but he also utilizes additional disciplines such as psychoanalysis, neurology, sociology, play and game theory, science of religion, mythology, poetics, philosophy of language, and linguistics. In seeking the roots of theatre, what he ultimately defines is something substantial about the nature of creative thought-a rudimentary system of imagistic thinking and communication that lies in the set of biological, primitive, and infantile phenomena such as daydreaming, imaginative play, children's drawing, imitation, mockery (caricature, parody), storytelling, and mythmaking. In "The Roots of Theatre" Eli Rozik offers an alternative theory of roots based on the cultural and psychological conditions that made the advent of theatre possible. Rozik grounds his study in a comprehensive review and criticism of each of the leading historical and anthropological theories. The topic of the origins of theatre is one of the most controversial in theatre studies, with a long history of heated discussions and strongly held positions. In The Roots of Theatre, Eli Rozik enters the debate in a feisty way, offering not just another challenge to those who place theatre's origins in ritual and religion but also an alternative theory of roots based on the cultural and psychological conditions that made the advent of theatre possible. The topic of the origins of theatre is one of the most controversial in theatre studies, with a long history of heated discussions and strongly held positions. In The Roots of Theatre , Eli Rozik enters the debate in a feisty way, offering not just another challenge to those who place theatre’s origins in ritual and religion but also an alternative theory of roots based on the cultural and psychological conditions that made the advent of theatre possible. Rozik grounds his study in a comprehensive review and criticism of each of the leading historical and anthropological theories. He believes that the quest for origins is essentially misleading because it does not provide any significant insight for our understanding of theatre. Instead, he argues that theatre, like music or dance, is a sui generis kind of human creativity—a form of thinking and communication whose roots lie in the spontaneous image-making faculty of the human psyche. Rozik’s broad approach to research lies within the boundaries of structuralism and semiotics, but he also utilizes additional disciplines such as psychoanalysis, neurology, sociology, play and game theory, science of religion, mythology, poetics, philosophy of language, and linguistics. In seeking the roots of theatre, what he ultimately defines is something substantial about the nature of creative thought—a rudimentary system of imagistic thinking and communication that lies in the set of biological, primitive, and infantile phenomena such as daydreaming, imaginative play, children’s drawing, imitation, mockery (caricature, parody), storytelling, and mythmaking. The topic of the origins of theatre is one of the most controversial in theatre studies, with a long history of heated discussions and strongly held positions. In The Roots of Theatre, Eli Rozik enters the debate in a feisty way, offering not just another challenge to those who place theatre's origins in ritual and religion but also an alternative theory of roots based on the cultural and psychological conditions that made the advent of theatre possible. Rozik grounds his study in a comprehensive review and criticism of each of the leading historical and anthropological theories. He believes that the quest for origins is essentially misleading because it does not provide any significant insight for our understanding of theatre. Instead, he argues that theatre, like music or dance, is a sui generis kind of human creativity—a form of thinking and communication whose roots lie in the spontaneous image-making faculty of the human psyche. Rozik's broad approach to research lies within the boundaries of structuralism and semiotics, but he also utilizes additional disciplines such as psychoanalysis, neurology, sociology, play and game theory, science of religion, mythology, poetics, philosophy of language, and linguistics. In seeking the roots of theatre, what he ultimately defines is something substantial about the nature of creative thought—a rudimentary system of imagistic thinking and communication that lies in the set of biological, primitive, and infantile phenomena such as daydreaming, imaginative play, children's drawing, imitation, mockery (caricature, parody), storytelling, and mythmaking. |
| Author | Rozik, Eli |
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| Snippet | The topic of the origins of theatre is one of the most controversial in theatre studies, with a long history of heated discussions and strongly held positions.... In "The Roots of Theatre" Eli Rozik offers an alternative theory of roots based on the cultural and psychological conditions that made the advent of theatre... |
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| SubjectTerms | History & Criticism Origin PERFORMING ARTS Rites and ceremonies Theater |
| Subtitle | Rethinking Ritual and Other Theories of Origin |
| TableOfContents | Front Matter
Table of Contents
INTRODUCTION
1: BASIC DEFINITIONS
2: THE RITUAL ORIGIN OF TRAGEDY
3: THE RITUAL ORIGIN OF COMEDY
4: THE SHAMANISTIC SOURCE
5: THE RECREATION OF THEATRE BY CHRISTIANITY
6: THE MUMMERS’ PLAYS
7: THE ADOPTION OF THEATRE BY JUDAISM
8: BACK TO ARISTOTLE
9: PERFORMANCE THEORY
10: THE “DRAMA” OF REAL LIFE
11: THE SPIRIT OF CARNIVAL
12: CULTURE AS PLAY/GAME
13: THE “LANGUAGE” OF DREAMS
14: PLAYING AS THINKING
15: MYTHICAL REPRESENTATION
16: RETRACING THE STEPS OF HISTORY
17: REFLECTIONS AND CONCLUSIONS
BIBLIOGRAPHY
INDEX
Back Matter Part III: A Theory of Roots 12. Culture as Play/Game 11. The Spirit of Carnival 10. The Drama OF REAL LIFE 9. Performance Theory Part II: Hedges and Boundaries 8. Back to Aristotle 7. The Adoption of Theatre by Judaism 6. The Mummers' Plays 5. The Recreation of Theatre by Christianity 4. The Shamanistic Source 3. The Ritual Origin of Comedy 2. The Ritual Origin of Tragedy 1. Basic Definitions Part I: Theories of Origins Introduction Contents Copyright Title Page Cover Studies in Theatre History & Culture Index Bibliography 17. Reflections and Conclusions 16. Retracing the Steps of History 15. Mythical Representation 14. Playing as Thinking 13. The Language of Dreams Intro -- Introduction -- Part One. Theories of Origins -- 1. Basic Definitions -- 2. The Ritual Origin of Tragedy -- 3. The Ritual Origin of Comedy -- 4. The Shamanistic Source -- 5. The Recreation of Theatre by Christianity -- 6. The Mummers' Plays -- 7. The Adoption of Theatre by Judaism -- 8. Back to Aristotle -- Part Two. Hedges and Boundaries -- 9. Performance Theory -- 10. The "Drama" of Real Life -- 11. The Spirit of Carnival -- 12. Culture as Play/Game -- Part Three. A Theory of Roots -- 13. The "Language" of Dreams -- 14. Playing as Thinking -- 15. Mythical Representation -- 16. Retracing the Steps of History -- 17. Reflections and Conclusions -- Bibliography -- Index |
| Title | The Roots of Theatre |
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