FINAL EXAM Flashcards
(111 cards)
1
Q
2 Models of Communication
A
Transmission and Ritual Model
2
Q
2 Models of Communication was theorized by
A
James Carey
3
Q
Transmission Model
A
A process whereby messages are transmitted and distributed in space for the control of distance and people.
4
Q
Ritual Model
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A symbolic process whereby reality is produced, maintained, repaired and transformed
5
Q
Transmission Model imparts, sends and transmits knowledge through
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Transportation and across geographical distances
6
Q
Ritual Model shares, participates and represented shared beliefs expressed through
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Ideals, embodied in dance, plays and stories
7
Q
3 Assumptions of Performance
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Mimesis, Poiesis and Kinesis
8
Q
Mimesis was theorized by
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Aristotle
9
Q
Mimesis is viewed as the
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Faking of cult
10
Q
Mimesis is an imitation or mirror
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Reflection of work, staged dramas imitate action of life
11
Q
Examples of Mimesis
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Plays, movies, film, tv
12
Q
Poiesis was theorized by
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Victor Turner
13
Q
Poiesis is performance viewed as the
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Making of cult
14
Q
Poiesis are performance produced in
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Culture, makes that cult of tradition and sustains cultural traditions. New identities of self are created and maintained
15
Q
Examples of Poiesis
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Bar/bat mitzvahs, baptisms, quinceaneras, debuts
16
Q
Kinesis is theorized by
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Dwight Conquergood
17
Q
Kinesis is performance is viewed as the
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Breaking/remaking of cult
18
Q
Kinesis performances can transgress
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Boundaries, break structures and remake social/political rules, critique old structures and makes us question old traditions
19
Q
Kinesis Examples
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SNL, PETA, activist, protest art
20
Q
Performance is constitutive =
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Performance creates
21
Q
Performance is Epistemic =
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Is a way of knowing
22
Q
Performance is Critical =
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Is a way of staking claim about the creation of knowledge
23
Q
Constitutive performance creates
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Identity: race, gender, class, sexual orientation, abilities, age
24
Q
Examples of Constitutive Performance
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Weddings, football games, step shows… participate to create ourselves and cultures we embody
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Performance is Epistemic through
Oral reading of literary texts, knowing the world through daily practice, repetition and subconscious acts
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Performance is Critical through
Uncovering/exposing/challenging power structures and practices. Provides insight and inspires social activism
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Examples of Critical Performances
Songs, dance performances, news coverage, social media, documentaries, films, books
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3 Definitions of Performance
Process & Product, Productive & Purposeful, Traditional & Transformational
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Process & Product
Derived from a set of activities, is a product, an accomplishment, an event
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Productive & Purposeful
Causes, creates, produces both itself and things outside of itself. Is utilized to do meaningful things for individuals, groups and cults.
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Traditional & Transformational
Makes reference to former ways of doing, acting, seeing and believing which upholds the status quo. Critiques or changes the status quo.
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3 elements that mark or frame performances as a mode of communication:
Performer competence, audience evaluation and heightened experience
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Performer competence
Displaying of effective skills and attitudes
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Heightened experience
Performance is marked for enhancement of life experience
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Audience evaluation
Skills & effectiveness of performance judged (positively/negatively)
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Audience communicates positive expressions through
Applause, standing ovation, shouts of bravo, finger snaps
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Audience communicates negative expressions through
Booing, hissing, silence
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Frames
Ways of organizing understanding & Interpreting experiences.
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Frames serve to
Delimit messages, are metacommunication (carry out instructions of how to interpret messages, events and actions), are transformative
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Frames are generated through having something to
Observe, evaluate, analyze through theater, art, media.
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However, Frames can be (3 things)
Broken, cause confusion, can slip
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4th wall
Refers to an imaginary wall at the front stage of stage
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Frame Breaking
Is a way to call attention to the performance itself (through asking audience participation)
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Reasons the 4th wall is broken
Comic relief, actively enroll the audience, confessional (reality tv)
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Frame Confusion
Occurs when people (actors and audiences) are “in the know” at the reality of the frame, while others are not.
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2 genres that play with frame confusion
Television (punk’d) and mockumentaries (the offices)
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Frame slippage
Occurs when the frames slip activity starts out as harmless - or for fun - but turns deadly or dangerous
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Examples of frame slippage
Frat hazing, sporting events, concerts
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3 Levels of Performer Consciousness
1. Oneself performing aware of frame and relationships between self, frame and audience
2. Ones inner dialogue between ordinary self and performance self
3. Self awareness of audience feedback and adapting of the performance situation to appeal to aud emotions
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Constitution Performance thru Audience Participation (4 Levels)
1. Inactive-receiver
2. Active-respondent
3. Interactive-coproducer
4. Proactive-producers
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Inactive-receiver
Audience remains passive/quiet attentiveness (weddings, funerals)
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Active-respondent
Audience is invited to complete cues offered during performance (church service, concert, poetry)
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Interactive-coproducer
Audience expected to perform interactive/improvisational
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Proactive-producers
Lines blurred between actors and audience and proactively produced (festivals, community, celebrations)
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Social Drama was coined by
Victor Turner
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Social Drama
Can be used to analyze how people handle conflict and restore order
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Social Dramas are centered in
Conflict, unfold in unpredictable, observable stages and involves public forms of communication
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4 Stages of Social Drama
1. Breach
2. Crisis
3. Redress
4. Reintegration or Schism
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Stage 1: Breach
Occurs when a member of a community breaks a rule, the stability of the social unit is threatened
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In order for the rule breaking to constitute a breach, the rule must be held by the
Community as “binding”
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Stage 2: Crisis
Occurs when sides are taken for or against the rule breaker; there is “a widening of the breach into increasingly open or public displays
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Stage 3: Redress
Occurs when repairs/alternative solutions are enacted to resolve breach
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The act of redressing entails
Personal advice, formal/legal/judicial measures and performance of public ritual
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Redressing involves
Reflexive (Ways a community looks at itself to measure what one member has done in relation to agreed upon standards) and Liminality (a suspended knowledge about the outcome)
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Stage 4: Reintegration
If the repairs work, the group returns to normal, but it the repairs fail, the group breaks apart.
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Rites of Passage was theorized by
Arnold van Gennep
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Rites of passage
Marks life changes and milestones
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3 Stages of Rites of Passage
1. separation
2. transition
3. incorporation
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ROP Stage 1: Separation
Allows for the individual to separate or be isolated from his/her customary environment
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ROP Stage 2: Transition
The 2nd/middle stage allows for the individual to “cross” the new thresholds, learns new behavior for the new entering stage
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ROP Stage 3: Incorporation
The 3rd/final stage allows for the individual to be incorporated into his/her new group or status and returned to customary environment
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Catherine Bell claims there are 5 characteristics of ritual-like activities:
Formalization, traditionalism, invariance, rule governance, sacral symbolism
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Formalization
There’s a degree of formality in dress or speech that marks an activity as ritual-like (costumes, languages, gestures)
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Traditionalism
Honors and in keeping with traditional practices and ways of acting
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Invariance
Stresses precise repetition and physical control; actions are performed the same each time
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Rule governance
Maintains that ritual-like activities are governed by rules that guide and direct the activities
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Sacral symbolism
Appeals to supernatural beings. People and objects become sacred through ritual acts
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Cultural Performance was theorized by
Milton Singer
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Cultural performances are marked by modes of
Action that display special features that frame performances as meaningful acts within a community. A limited time span, organized program of activity, a set of performers, audience and place
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Notions of Liminality
The between Stages of ritualized events can be experienced in public places
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Communitas
A sense of soaring & intimacy that develops among persons who experience Liminality as a group
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Which theorist outlined the 4 ethical pitfalls performers should be aware of?
Dwight Conquergood
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4 Ethical Pitfalls
Custodians rip off, enthusiastic infatuation, curator’s exhibitionism, skeptic’s cop out
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Custodians Rip Off
Performer is selfish in his/her portrayal (take/steal from the other to make a profit)
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Enthusiastic Infatuation
Performer superficially portrays the other without having done research - performer minimizes difference at the expense of erasing the other
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Curator’s Exhibitionism
Performer stereotypically portrays the other by starkly highlighting difference - to shock - focus is on the exotic portrayal of the other
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Skeptic’s Cop Out
Performer is cynical about performing the other - performer feels that they shouldn’t do performance because they don’t share cultural membership of the other
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The worst pitfall out of the 4 is
Skeptics cop out
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Social Self was coined by
Erving Goffman
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4 Interlocking Components in performances of social roles
1. Belief in the part
2. Social Fronts
3. Dramatic Realization
4. Idealization
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Belief in the part
The social roles we perform everyday to create the impressions for ourselves and for others that we are who we claim to be
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Social Fronts
We perform these roles with the aid of expressive equipment (setting, personal fronts, appearances, manner)
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Dramatic Realization
Social Roles are produced in the moment they are performed - during the “social” interaction.
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Idealization
When we perform these roles we try to measure up to an “ideal”... which is often learned, practiced and culturally specific
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Goffman defines performing spaces as
Any place bounded to some degree by barriers to perception
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Front region
Front stage of everyday life
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Front region behaviors include
Politeness, decorum, Formal behaviors, putting on a character, role
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Back Region
Back stage of everyday life
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Back Region behaviors
Are informal behavior, taking off mask, comfortable, casual spaces and behaviors
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Dramaturge also refers to
Drama enactment, rules of that enactment
101
Goffman 5 techniques of managing impressions
1. Dramaturgical loyalty
2. Dramaturgical discipline
3. Dramaturgical circumspection
4. Protective practices
5. Tact
102
Dramaturgical loyalty
Team members acting as if they have accepted the moral obligations of being a team member.
103
Dramaturgical discipline
The control of the face and voice by an individual, the presence of mind and poise necessary to pull off that role
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Dramaturgical Circumspection
Performer must show prudence, foresight care and honesty in the performance; circumspect performer is one who is reflexive about her/his choices
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Protective practices
Performance and people “stepping in” to save the show in moments of crisis, distress
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Tact
Performers must always be alert for cues of mistaken impression and be ready to correct
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Role Distance
Refers to detachment of the performer from the role he or she is performing
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Discrepancy Roles
Roles that posses an unusual and perhaps unapparent combo of 3 essential factors: available information, region access and function of the performance
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Informer
Someone who pretends to be a team member , but works for the audience
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Shill
Pretends to be a member of the audience, but allies the performers
111
Non person
Who are present but are considered to be neither performers nor audience
