Please enable JavaScript.
Coggle requires JavaScript to display documents.
PERFORMANCE THEORY (overview (performance (spoken verbal communication…
PERFORMANCE THEORY
overview
performance
spoken verbal communication
responsibility to an audience
display communicative competence
audience needed
communicative competence
azcquires tools for expression
beyond words (frameworks)
key questions
factors shaping oral literature and give it meaning
how is 'artful' communication evaluated/interpreted?
developing the theory
key figures - Bauman, Hymes, Tedlock
challenged earlier practice
natural speech < generative linguistics
traditionalist view
cultural artefacts
texts incomplete representations
dynamic experience
performances ephemeral
can't divorce
major paradigm shifts
text -> context
collecting/categorising to studying performers
folklore as material -> communication
Foley - performance not part of narrative's meaning
narrator and narration equally important
not all performances created equal
representing performance important
no performance isolated
passive -> active
individual -> group dynamic
benefits
total speech act
actions of people & ties to each other
need to relax fixation with words
not all questions can be answered with text
performance situated behaviour
Bauman - most important = event/scene
culturally defined, bounded segment
flow of behaviour and experience
meaningful context for action
understanding this - more valuable info
singular tales not bound to one context
dynamic & variable
gaelic waulking songs
application to tales
characteristics
successful performance
audience who recognises verbal art
performer displays communicative competence
also art form/setting
keys of performance
semiotic messages
semi-universal
Bauman's 'keys'
invoked by performer
recognisable shorthand
experience they will be collectively engaged in
bauman's keys
special codes
linguistic levels/bundles
range of speaking modes
can index context
figurative language
most prominent feature
valorise fixed/novel language
stock expressions
building blocks
use creatively (Serbo-Croatian)
parallelism
extra regularities
repeat an aspect of communication
help renditions appear fluent
special paralinguistic features
body and voice
rarely transcribed but important
special formulae
index specific genres
prompt interaction
encoded
part of communicative competence
appeal to tradition
articulates responsibility
accepts standard to be evaluated by audience
disclaimer of performance
claim to have no ability
common in scotland
ironic communication
limitations
nature of communication
literature as inferior/lies
Plato
Austin - literal communication more worthy
very rare
what is not said often more important
verbal art not consistently defined
storytelling in Scotland vs categories in Ilongat
knowledge of culture
learn oral-poetic language
to know features that serve as keys