|
|
[31] Turnerjeva teorija »družbene drame« izhaja iz Gennepove teorije »ritualov prehoda« (Arnold van Gennep, Rites de Passage, 1908). Za Turnerjevo teorijo »družbene drame« je bistveno Gennepovo stališče, da se, prvič, rituali prehoda običajno dogajajo v trenutkih »življenjskih prelomnic«, v trenutku, ki je dramatičen za pripadnika, pripadnico družbe, in drugič, da je ritualni subjekt v času, ko je udeležen v ritualu prehoda, običajno fizično ločen od drugih pripadnikov družbe, da torej rituali prehoda potekajo v območju nenavadnega, nevsakdanjega, prelomnega, skratka »dramatičnega«. Ker torej meni, da rituali prehoda potekajo v območju dramatičnega, Turner v ritualu išče korenine performansa in v performansu zasleduje analogije z ritualom. »Ritual najraje umevam kot predstavo, uprizoritev, in ne kot pravila in določbe,« pravi Turner. Zaradi prevzetnih, a žal ne dovolj dobro argumentiranih analogij med ritualom in gledališčem (oz. performansom), si je Turner prislužil nekaj ostrih kritik (npr. Cliforda Geertza, pa tudi njegovih učiteljev Maxa Gluckmana in Raymonda Firtha), ki jih lahko povzamemo približno takole: s tem da Turner uporablja pojem »drama« kot univerzalno, »nadčasovno« kategorijo, vsiljuje uporabo kulturne sheme, ki je determinirana z značilnostmi partikularne, zgodovinsko določene umetniške zvrsti.
|
|
|
[32] Turner derived his theory of "social drama" from Gennep's theory of "rites of passage" (Arnold van Gennep, Rites de Passage, 1908). Essential to Turner's theory of "social drama" is Gennep's view that, first, the rites of passage usually occur at "milestone moments" in life, i.e. moments that are dramatic for a member of a society; second, at the time of such a rite, the subject of the rite is physically separated from other members of society, meaning that the rites of passage take place in the area of the unusual, of milestone events, outside the currents of everyday life, in short, they are dramatic. Since Turner thus holds that rites of passage take place in the arena of dramatic events, he looks for the roots of performance in ritual, and conversely, he identifies analogies with ritual within performance. Accordingly, he states that he perceives ritual as performance rather than as rules and prescriptions. His presumptuous, but unfortunately not well-grounded analogies between ritual and theatre (i.e. performance) earned him several pieces of sharp criticism (e.g. by Cliford Geertz, as well as his teachers Max Gluckman and Raymond Firth). This criticism could be briefly recapitulated as follows: by using the term 'drama' as representing a universal, "supra-temporal" category, Turner enforces the use of a cultural schema that is determined by the characteristics of a particular, historically defined artistic genre.
|
