Audience Participation in Rasa Theory with particular attention to the notion of reception, and the obstructions that might prevent audience members achieving their continuous steady focus on the performance. Anecdotes from contemporary and legendary performances of great artist-performers are included. The essay also asks what is the difference between Brecht dramturgical practice of alienation, and the notion of blocking self-identification via the use of stlylization, and non-realisatic theater.
Original Title
It Matters for Whom You Dance-Dance Matters Coorlawala. PDF
Audience Participation in Rasa Theory with particular attention to the notion of reception, and the obstructions that might prevent audience members achieving their continuous steady focus on the performance. Anecdotes from contemporary and legendary performances of great artist-performers are included. The essay also asks what is the difference between Brecht dramturgical practice of alienation, and the notion of blocking self-identification via the use of stlylization, and non-realisatic theater.
Audience Participation in Rasa Theory with particular attention to the notion of reception, and the obstructions that might prevent audience members achieving their continuous steady focus on the performance. Anecdotes from contemporary and legendary performances of great artist-performers are included. The essay also asks what is the difference between Brecht dramturgical practice of alienation, and the notion of blocking self-identification via the use of stlylization, and non-realisatic theater.