Archaeology of Performance
Theaters of Power, Community, and Politics
1st Edition
Published on 9. March 2006
1 pages
979-8-216-23484-5 (ISBN)
Description
Performances in the premodern communities shaped identities, created meanings, generated and maintained political control. But unlike other social scientists, archaeologists have not worked much with these concepts. Archaeology of Performance shows how the notions of theatricality and spectacle are as important economics and politics in understanding how ancient communities work. Without sacrificing conceptual rigor, the contributors draw on the wide-ranging literature on performance. Without sacrificing material evidence, they try to see how performance creates meaning and ideology. Drawing on evidence from societies large and small, Archaeology of Performance offers an important new ways of understanding ancient theaters of power.
More details
Other editions
Additional editions
Takeshi Inomata | Lawrence S. Coben
Archaeology of Performance
Theaters of Power, Community, and Politics
Book
03/2006
AltaMira Press
€175.30
Shipment within 15-20 days
Persons
Takeshi Inomata is an associate professor in anthropology at University of Arizona. Lawrence S. Coben is the director of Proyecto Inkallakta (Incallajta), a multidisciplinary project centered at the monumental Inka site of that name in central Bolivia.
Content
Part 1 Prologue
Chapter 2 Prologue: Behind the Scenes: Producing the Performance
Part 3 Act I: Concepts and Approaches
Chapter 4 Scene 1: Overture: An Invitation to the Archaeological Theater
Part 5 Act II: Senses, Spectacle, and Performance
Chapter 6 Scene 2: "The Indians Were Much Given to Their Taquis": Drumming and Generative Categories in Ancient Andean Funerary Processions
Chapter 7 Scene 3: The Spectacle of Daily Performance at Çatalhöyük
Chapter 8 Scene 4: Representational Aesthetics and Political Subjectivity: The Spectacular in Urartian Images of Performance
Chapter 9 Scene 5: Impersonation, Dance, and the Problem of Spectacle among the Classic Maya
Part 10 Act III: Public Performance of Power and Community
Chapter 11 Scene 6: Dancing Gods: Ritual, Performance, and Political Organization in the Prehistoric Southwest
Chapter 12 Scene 7: Politics and Theatricality in Mayan Society
Chapter 13 Scene 8: Other Cuzcos: Replicated Theaters of Inka Power
Chapter 14 Scene 9: Public Ceremonial Performance in Ancient Egypt: Exclusion and Integration
Chapter 15 Scene 10: Visible and Vocal: Sovereigns of the Early Merina (Madagascar) State
Chapter 16 Index
Chapter 17 About the Contributors
Chapter 2 Prologue: Behind the Scenes: Producing the Performance
Part 3 Act I: Concepts and Approaches
Chapter 4 Scene 1: Overture: An Invitation to the Archaeological Theater
Part 5 Act II: Senses, Spectacle, and Performance
Chapter 6 Scene 2: "The Indians Were Much Given to Their Taquis": Drumming and Generative Categories in Ancient Andean Funerary Processions
Chapter 7 Scene 3: The Spectacle of Daily Performance at Çatalhöyük
Chapter 8 Scene 4: Representational Aesthetics and Political Subjectivity: The Spectacular in Urartian Images of Performance
Chapter 9 Scene 5: Impersonation, Dance, and the Problem of Spectacle among the Classic Maya
Part 10 Act III: Public Performance of Power and Community
Chapter 11 Scene 6: Dancing Gods: Ritual, Performance, and Political Organization in the Prehistoric Southwest
Chapter 12 Scene 7: Politics and Theatricality in Mayan Society
Chapter 13 Scene 8: Other Cuzcos: Replicated Theaters of Inka Power
Chapter 14 Scene 9: Public Ceremonial Performance in Ancient Egypt: Exclusion and Integration
Chapter 15 Scene 10: Visible and Vocal: Sovereigns of the Early Merina (Madagascar) State
Chapter 16 Index
Chapter 17 About the Contributors
