Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

I Was Never Alone or Oporniki presents an original ethnographic stage play, based on fieldwork conducted in Russia with adults with disabilities. The core of the work is the script of the play itself, which is accompanied by a description of the script development process, from the research in the field to rehearsals for public performances. In a supporting essay, the author argues that both ethnography and theatre can be understood as designs for being together in unusual ways, and that both practices can be deepened by recognizing the vibrant social impact of interdependency animated by vulnerability, as identified by disability theorists and activists.

People with disabilities. --- People with disabilities --- Russia (Federation) --- creative methods. --- disability studies. --- disability theatre. --- documentary theatre. --- ethnography. --- health humanities. --- interdependency. --- medical anthropology. --- performance ethnography. --- post-Soviet. --- postsocialism. --- theatre.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This edited volume offers a historical, textual and ethnoanthropological exploration of the meaning and value of religion and ritual and their form and function in relation to Chinese literature and theatre. The term ‘theatre’ is used here to refer broadly to various types of live performances—theatrical and non-theatrical; sacred and profane— presented in a religious setting, thus including ritual performance and oral performance. Likewise, literature in this volume broadly encompasses both written and oral literatures, including drama, poetry, hagiography, legend, mythology and prosimetric narrative or chantefable for telling and singing. The contributors to the issue draw on a wide range of materials from historical, philosophical and literary texts to field reports and archaeological finds to archived documents and local gazetteers to personal interviews and participant observations. While all the essays are collected under the theme of ‘Religion and Folk Belief in Chinese Literature and Theatre’, they differ from each other in subject matter, source material and research approach. Rich and varied as they are, these essays fall into two main categories, namely, a historical approach to religion and ritual recorded in (written and visual) texts and an integrated approach that combines historical inquiries into written and visual texts with ethnoanthropological fieldwork on religious rituals and associated performances.

Religion & beliefs --- Cheng 誠 --- cheng 成 --- sincerity --- completion --- religion --- ritual --- Classical Confucianism --- literature --- baojuan (precious scrolls) --- telling scriptures --- scroll recitation --- chinese folklore --- popular religion --- buddhist narrative --- China --- Xiud Yax Lus Qim (Yalu wang) --- Miao (Hmong) ethnic group --- oral performance --- ritual practice --- sorcery and witchcraft --- collective memory --- cultural heritage --- state presence --- temple festival --- temple theatre --- Jiacun Double-Fourth Temple Festival --- the Primordial Sovereign of the Morning Clouds (Bixia yuanjun) --- Shangdang --- Liaozhai zhiyi --- Daoism --- dramas --- Sichuan --- willow --- Yuan zaju --- shamanism --- legend --- metaphor --- Chinese religions --- Chinese literature --- Ming --- Deng Zhimo --- hagiography --- Lü Dongbin --- Xu Xun --- Sa Shoujian --- print culture --- Pei Yue --- poems --- Buddhism --- monks --- social association --- Miao culture --- performance studies --- performance ethnography --- indigenous studies --- folk traditions --- mythology --- the Queen Mother of the West (Xiwangmu) --- Han rhapsody (fu) --- Han paintings --- Hantomb stone reliefs --- the Wuliang Shrine