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Modern carnival: Performer and patro...

Korol, Kimberly Ann.

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Modern carnival: Performer and patron interaction and immersion at the Maryland Renaissance Festival(TM).

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Modern carnival: Performer and patron interaction and immersion at the Maryland Renaissance Festival(TM)./
作者:	Korol, Kimberly Ann.
面頁冊數:	217 p.
附註:	Adviser: Tracy C. Davis.
Contained By:	Dissertation Abstracts International67-03A.
標題:	Anthropology, Cultural. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3212796
ISBN:	9780542621369

Modern carnival: Performer and patron interaction and immersion at the Maryland Renaissance Festival(TM).
Korol, Kimberly Ann.

Modern carnival: Performer and patron interaction and immersion at the Maryland Renaissance Festival(TM). - 217 p.

Adviser: Tracy C. Davis.

Thesis (Ph.D.)--Northwestern University, 2006.

This dissertation focuses upon the Maryland Renaissance Festival (MDRF) and examines how performers and patrons in a carnivalesque setting experience intrasticiancy---the state created by the overlapping of the actuality of twenty-first century America and the historical record of sixteenth-century England. Anthropologist Victor Turner's studies of liminality explore temporal-spatial confluence, and my study of the intrastice builds upon his work and provides for differing levels of immersion within the performances at the MDRF. The theatrical convention that spectators are able to "willingly suspend disbelief" is the foundation of study of the intrastice, and it is also what allows for the audience to "play at belief" and "actively create belief." I explore how the manner in which spectators frame the contiguous performances at the festival and thus influence the level of intrasticiant immersion.

ISBN: 9780542621369Subjects--Topical Terms:

735016
Anthropology, Cultural.

Modern carnival: Performer and patron interaction and immersion at the Maryland Renaissance Festival(TM).
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245 1 0 $a Modern carnival: Performer and patron interaction and immersion at the Maryland Renaissance Festival(TM).
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502 $a Thesis (Ph.D.)--Northwestern University, 2006.
520 $a This dissertation focuses upon the Maryland Renaissance Festival (MDRF) and examines how performers and patrons in a carnivalesque setting experience intrasticiancy---the state created by the overlapping of the actuality of twenty-first century America and the historical record of sixteenth-century England. Anthropologist Victor Turner's studies of liminality explore temporal-spatial confluence, and my study of the intrastice builds upon his work and provides for differing levels of immersion within the performances at the MDRF. The theatrical convention that spectators are able to "willingly suspend disbelief" is the foundation of study of the intrastice, and it is also what allows for the audience to "play at belief" and "actively create belief." I explore how the manner in which spectators frame the contiguous performances at the festival and thus influence the level of intrasticiant immersion.
520 $a My research methodology, based upon the ethnographic model of what Dwight Conquergood called the "co-performer/witness," tests its boundaries and limits while illustrating its benefits and efficacy. A history of the festival movement in the United States contextualizes the carnivalesque and its contributions to intrasticiancy, and an exploration of the sensescape at the MDRF and how it contributes to the temporal-spatial intrastice expands current landscape and soundscape scholarship. This work augments previous research on living history by considering both the tactile nature of these performances and the importance of embodied knowledge to their representation, while analyzing the difference between living history and historical elaboration and the resulting effects on intrasticiancy. I examine how actor-patron improvisational interaction imparts a deeper understanding of non-scripted performances within the milieu the MDRF offers and consider how the interface as a system of communication contributes to the understanding of the negotiation that exists between performer and spectator at theatrical events. My analysis of immediate post 11 September 2001 performance illustrates how actors complete cultural work in a carnivalesque setting during a time of crisis. Finally, I consider the ways different patrons frame the MDRF to illuminate roles spectators play and how those choices influence immersion within the intrastice.
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