Theater in Lebanon: production, reception and confessionalism
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Abschlussarbeit Buch |
| Sprache: | English Arabic |
| Veröffentlicht: |
Bielefeld
Transcript-Verl.
2005
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | 362 S. Ill., graph. Darst. 23 cm, 427 gr. |
| ISBN: | 3899423879 |
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TAREK SALLOUKH
Theater in Lebanon
Production, Reception, and Confessionalism
I transcript I
TABLE OF CONTENTS
INTRODUCTION 11
APPROACH, METHOD, AND FIELD RESEARCH 13
Theoretical framework 13
A qualitative approach: The »Grounded Theory« 23
The practical framework 26
Organization of the research paper 28
The field research and the database 30
Observation and protocoling 32
Interviews 33
Limitations 35
A HISTORICAL OVERVIEW 36
The confessional context 36
Historical overview of theater 39
Overview of literature 42
THE ENVIRONMENT OF THEATER (LEVEL I) 45
CONFESSIONALISM: A MAJOR »SPHERE OF DISCORD« 46
Terminology and characteristics 46
Confessional neutrality 48
Two confessional views of confessionalism 50
The confessional world: the »Self« 51
The confessional community ('at-ta'ifa) 51
Family and clan 52
The individual and the collective:
a second sphere of discord 53
Politics of the social world: wasita and za'Tm 56
»Rulers« versus »ruled«: a third sphere of discord 58
Institutions 58
Education 59
Regionalism: the geographical extension of confessionalism 61
War 62
Catalyst effect: two areas and two audiences 63
Generation gap: a fourth sphere of discord 65
Theater and war 66
The attitude towards the »Other« 68
Isolation _ 68
Knowledge of the other 69
Competition and duplication 70
Tension and relaxation 70
Emotionality 71
The Christian construction of the Moslem 72
The Moslem construction of the Christian 73
Differentiation and identification: two esthetic realms 74
Apportionment 77
Polarization 78
Labeling 78
Globalization 79
Media 81
Newspapers and other media 83
CONCLUSION AND CONSEQUENCES:
THE ENVIRONMENT OF THEATER 84
The spheres of discord as on-going »social dramas« 85
Friction 86
Esthetic realms 87
Graphical representation of the environment 88
OUTER-PERFORMANCE
PRODUCTION (LEVEL II) 91
THE PARAMETERS OF THE PRODUCTION 91
Freedom, censorship, and restrictions 91
Governmental institutions 93
Confessional Institutions 93
Overriding restrictions 94
Attitudes of the production towards theater 95
The production agents' view of theater 95
Theater as space of the individual 98
The audience and the economic balance
between production and reception 100
STRATEGIES OF THE PRODUCTION 103
Selection and composition 103
Approaching the spheres of discord 105
Approaching the esthetic realms 107
Approaching the audiences 108
Marketing 108
Appeal 109
THE ELEMENTS OF PLAY 112
Actors 112
Place: host-guest attitudes 115
Form 116
Text 116
Music 117
Sex and other elements of attraction 118
Heterogeneous and homogeneous plays 120
Topic 121
THE CROSSING PLAY 122
A TYPOLOGY OF THEATER 125
Entertainment Theater—»'al-masrah t-tarfThT« 126
Chansonnier Theater 126
Boulevard Theater 129
Serious Theater—»'al-masrah l-gadd« 129
Intellectual and Academic theater 130
Political Theater: 'al-masrah s-syasiyy 131
Religious Theater: 'al-masrah d-dlniyy 133
Popular Theater: 'al-masrah s-Sa'biyy 134
CONCLUSION: PRODUCTION 136
OUTER-PERFORMANCE
RECEPTION (LEVEL II) 137
THE PARAMETERS OF RECEPTION:
THE ATTITUDE OF THE AUDIENCE TOWARDS THEATER 13 7
Theatrical culture 137
Meaning and role of theater 139
Theater in the relation between the self and the other 141
Differences between the two social worlds 145
The Christian milieu: estheticism,
exclusivism, and development of the individual 146
The Moslem milieu: functionalism,
popularism, and conservation of the collective 148
Attitude of the audience towards theater people 150
GOING TO THEATER 151
Acquiring the ticket 151
The circumstantial audience 151
The intentional audience 153
Selecting a performance 153
The place 155
Transportation 155
Beirut as common space 156
The Crossing Audience 156
The financial element 158
CONCLUSION: A TYPOLOGY OF THE AUDIENCE 158
PERFORMANCE (LEVEL III) AND
POST-PERFORMANCE (LEVEL IV) 161
REALITY ONE »R1« AND REALITY TWO »R2«:
THE BASIS FOR INTERPRETATION 161
Identification 164
Interpretation: spheres of discord and esthetic realms 166
Emotional and rational motions 168
THE PERFORMANCE AS FRAME OF INTERACTION
BETWEEN THE SELF AND THE OTHER 169
Actor-audience interaction 170
Audience-audience interaction:
polarization and harmonization ' 172
POST-PERFORMANCE (LEVEL IV):
EVALUATION AND FEEDBACK 1 7 5
CONCLUSION 177
SUMMARY AND CONCLUSION 179
APPENDIX A: EXCERPTS AND EXAMPLES
FROM THE FIELDWORK
OBSERVATIONAL PHASE
»On Top of it,« fawq d-dakki (Example A)
In the South
In the Beqa valley
»Alleys,« zawarib (Example B)
»Civil Disorder,« sawaz madani (Example C)
»Come boy, eat m|addara,«
ta'a kol mgaddara ya sabi (Example D)
'Arabsat (Example E)
»In front of the door,« 'amama 1-bab (Example F)
»Jazz, crime and punishment,«
Jazz, 'al-garima wa-l-'iqab (Example G)
EXAMPLES OF FIELD NOTES
Memo 1: »zawarib«
Memo 2: sawaz madani
Memo 3: »The Martyr son of the country «
' 'as-sahld 'ibn 1-balad
Memo 4: gnaynit s-sanayi'
Memo 5: »Dream maker,« sani' l-'ahlam
INTERVIEWS
Interview guidelines
Audience reception interviews 213
Production interviews 213
Partial list of interviewees 214
Translated interviews citations 215
APPENDIX B: DIAGRAMS 235
APPENDIX C: ARABIC TRANSCRIPTIONS 253
APPENDIX D: GERMAN SUMMARY 347
BIBLIOGRAPHY 355 |
| adam_txt |
TAREK SALLOUKH
Theater in Lebanon
Production, Reception, and Confessionalism
I transcript I
TABLE OF CONTENTS
INTRODUCTION 11
APPROACH, METHOD, AND FIELD RESEARCH 13
Theoretical framework 13
A qualitative approach: The »Grounded Theory« 23
The practical framework 26
Organization of the research paper 28
The field research and the database 30
Observation and protocoling 32
Interviews 33
Limitations 35
A HISTORICAL OVERVIEW 36
The confessional context 36
Historical overview of theater 39
Overview of literature 42
THE ENVIRONMENT OF THEATER (LEVEL I) 45
CONFESSIONALISM: A MAJOR »SPHERE OF DISCORD« 46
Terminology and characteristics 46
Confessional neutrality 48
Two confessional views of confessionalism 50
The confessional world: the »Self« 51
The confessional community ('at-ta'ifa) 51
Family and clan 52
The individual and the collective:
a second sphere of discord 53
Politics of the social world: wasita and za'Tm 56
»Rulers« versus »ruled«: a third sphere of discord 58
Institutions 58
Education 59
Regionalism: the geographical extension of confessionalism 61
War 62
Catalyst effect: two areas and two audiences 63
Generation gap: a fourth sphere of discord 65
Theater and war 66
The attitude towards the »Other« 68
Isolation _ 68
Knowledge of the other 69
Competition and duplication 70
Tension and relaxation 70
Emotionality 71
The Christian construction of the Moslem 72
The Moslem construction of the Christian 73
Differentiation and identification: two esthetic realms 74
Apportionment 77
Polarization 78
Labeling 78
Globalization 79
Media 81
Newspapers and other media 83
CONCLUSION AND CONSEQUENCES:
THE ENVIRONMENT OF THEATER 84
The spheres of discord as on-going »social dramas« 85
Friction 86
Esthetic realms 87
Graphical representation of the environment 88
OUTER-PERFORMANCE
PRODUCTION (LEVEL II) 91
THE PARAMETERS OF THE PRODUCTION 91
Freedom, censorship, and restrictions 91
Governmental institutions 93
Confessional Institutions 93
Overriding restrictions 94
Attitudes of the production towards theater 95
The production agents' view of theater 95
Theater as space of the individual 98
The audience and the economic balance
between production and reception 100
STRATEGIES OF THE PRODUCTION 103
Selection and composition 103
Approaching the spheres of discord 105
Approaching the esthetic realms 107
Approaching the audiences 108
Marketing 108
Appeal 109
THE ELEMENTS OF PLAY 112
Actors 112
Place: host-guest attitudes 115
Form 116
Text 116
Music 117
Sex and other elements of attraction 118
Heterogeneous and homogeneous plays 120
Topic 121
THE CROSSING PLAY 122
A TYPOLOGY OF THEATER 125
Entertainment Theater—»'al-masrah t-tarfThT« 126
Chansonnier Theater 126
Boulevard Theater 129
Serious Theater—»'al-masrah l-gadd« 129
Intellectual and Academic theater 130
Political Theater: 'al-masrah s-syasiyy 131
Religious Theater: 'al-masrah d-dlniyy 133
Popular Theater: 'al-masrah s-Sa'biyy 134
CONCLUSION: PRODUCTION 136
OUTER-PERFORMANCE
RECEPTION (LEVEL II) 137
THE PARAMETERS OF RECEPTION:
THE ATTITUDE OF THE AUDIENCE TOWARDS THEATER 13 7
Theatrical culture 137
Meaning and role of theater 139
Theater in the relation between the self and the other 141
Differences between the two social worlds 145
The Christian milieu: estheticism,
exclusivism, and development of the individual 146
The Moslem milieu: functionalism,
popularism, and conservation of the collective 148
Attitude of the audience towards theater people 150
GOING TO THEATER 151
Acquiring the ticket 151
The circumstantial audience 151
The intentional audience 153
Selecting a performance 153
The place 155
Transportation 155
Beirut as common space 156
The Crossing Audience 156
The financial element 158
CONCLUSION: A TYPOLOGY OF THE AUDIENCE 158
PERFORMANCE (LEVEL III) AND
POST-PERFORMANCE (LEVEL IV) 161
REALITY ONE »R1« AND REALITY TWO »R2«:
THE BASIS FOR INTERPRETATION 161
Identification 164
Interpretation: spheres of discord and esthetic realms 166
Emotional and rational motions 168
THE PERFORMANCE AS FRAME OF INTERACTION
BETWEEN THE SELF AND THE OTHER 169
Actor-audience interaction 170
Audience-audience interaction:
polarization and harmonization ' 172
POST-PERFORMANCE (LEVEL IV):
EVALUATION AND FEEDBACK 1 7 5
CONCLUSION 177
SUMMARY AND CONCLUSION 179
APPENDIX A: EXCERPTS AND EXAMPLES
FROM THE FIELDWORK
OBSERVATIONAL PHASE
»On Top of it,« fawq d-dakki (Example A)
In the South
In the Beqa valley
»Alleys,« zawarib (Example B)
»Civil Disorder,« sawaz madani (Example C)
»Come boy, eat m|addara,«
ta'a kol mgaddara ya sabi (Example D)
'Arabsat (Example E)
»In front of the door,« 'amama 1-bab (Example F)
»Jazz, crime and punishment,«
Jazz, 'al-garima wa-l-'iqab (Example G)
EXAMPLES OF FIELD NOTES
Memo 1: »zawarib«
Memo 2: sawaz madani
Memo 3: »The Martyr son of the country «
' 'as-sahld 'ibn 1-balad
Memo 4: gnaynit s-sanayi'
Memo 5: »Dream maker,« sani' l-'ahlam
INTERVIEWS
Interview guidelines
Audience reception interviews 213
Production interviews 213
Partial list of interviewees 214
Translated interviews citations 215
APPENDIX B: DIAGRAMS 235
APPENDIX C: ARABIC TRANSCRIPTIONS 253
APPENDIX D: GERMAN SUMMARY 347
BIBLIOGRAPHY 355 |
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| title | Theater in Lebanon production, reception and confessionalism |
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| title_auth | Theater in Lebanon production, reception and confessionalism |
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