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What the seven essays of the new book provide aside from reflection on the incredible diversity of performative events rituals, games, sports, psychodrama and innumerable hybrids of theatre and the mediatized fictions by which older forms are preserved s a fieldworker s view of performance consciousness as the subjunctive mode of activating alternatives An impressively omnibus book American Theatre Provocative Schechner is aggressively cross cultural His examples are drawn from his own field observations of Ramlila and Kathakali in India, from Noh and Kabuki in Japan, from the Yaqui and the Balinese, from Disneyland, Plimoth Plantation, a Black church in Brooklyn, a sadomasochistic theater in Manhattan, and the San Diego Zoo His genres range from ritual, theater, dance, and other performing arts to restored villages, tourist attractions, time machines, theme parks, and prime time television news Schechner s book makes us rethink such familiar terms as text, context, and performance We learn how culture bound we have become in accepting recent Euro American conventions as natural, such as a narrative structure based on conflict and resolution, the authority of the author, and the arrangement of a center stage before a passive audience seated in rows This is a major work American Anthropologist Between Theatre and Anthropology is Schechner s account of Ide on the liminoid track a fast one at that between disciplines that have come to achieve a cozy mutual admiration In style and scope the book is recognizably an anthology,a sampling, provocatively put together, of Schechner s views about what anthropology and theatre have to say to each other Between Theatre and Anthropology is undoubtedly a major work in the field of performance studies It promises to keep Schechner s name at the forefront of that field, and to reward the reader with ideas that, like modern theatre, will entertain, disturb, engage Journal of Ritual StudiesARD SCHECHNER is Professor of Performance Studies at New York University He was founder director of the Performance Group, edits The Drama Review, and has written numerous articles and books, including The End of Humanism and Essays on Performance Theory