Edit Framing Play And Theatre Word Count 850 †900.. Clear

Edit: framing play and theatre word count 850 – 900. Clear distinctions between cultural performance and social interaction is clouded by the overlapping similarities between the performative aspects of everyday life and the aspects of everyday life that formal performance seeks to reproduce, critique or offer reflection on. Kirby (1972) argues that acting is artifice but not all performing is acting, or indeed artifice, making a case for a continuum of acting / not acting within the realm of performance. Whereas, similarly Schechner sees performance as a spectrum of human actions, in which formal cultural performance slides into the enactment of social roles (2002: 2). I would argue that this continuum can be confused with a scale, by†¦show more content†¦Therefore, understanding the very concepts of performance types themselves, is a lesson in understanding literal different systems of framing. A staged performance has been rehearsed, the participants work towards the same predetermined objective. Also, risk is minimal becau se it is artifice. Whereas in real life, each individual’s motivation, objective and end goals can differ. Real life contains self-reflexivity that theatre does not as it is an artifice (the character’s reflexivity is a rehearsed and predestined contrived by actors, writer and director). The theatre can be a liminal space to prompt reflexivity. Hastrup is concerned with how individual action is accountable by the imagined future and collectively of social space (2004: 223). Theatre is more open to play and exploration of ideas than real life. Therefore acts as a transformative or liminal space, with which to understand ‘real-life’. Moreover, in theatre the internal monologue is often made public, this is not true of real life. Having to guess motivations from external markers is made difficult due to the nature of deceptive performativity. Furthermore, in theatre we know and accept illusion, but in reality it is not so easy or clearly defined. Where Hastrup addresses the social function of cultural performance, Goffman uses performance to address social actions with his dramaturgical theory (1956). By