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Buddhism as/in Performance: Analysis of Meditation and Theatrical Practice / George, David E.R.
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Buddhism as/in Performance: Analysis of Meditation and Theatrical Practice
George, David E.R.
 
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List Price : US$ 34.79
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  Book ID : 3322
  ISBN-10 : 81-246-0123-2 / 8124601232
  ISBN-13 : 978-81-246-0123-5 / 9788124601235
  Place of Publication : Delhi
  Year of Publication : 2011
  Edition : (Second Impression)
  Language : English
  ix, 225p., Bib., Index, 23 cm. (First Edition pub. in 1999) (Emerging Perceptions in Buddhist Studies No. 11)
   
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 CONTENTS
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CONTENTS:-
Part I: The Theory Buddhism as Performance:
1. The Epistemology of Performance
2. Buddhist Epistemology: The World as Performance

Part II: The Case Studies Buddhism in Performance:
3. Karma Drama: The Hinayana; Sri Lanka
4. Theatre of Compassion: The Vajrayana; Tibet
5. Bodhi-drama: The Mahayana; Japan

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 DESCRIPTION
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Professor George has ventured into a comparatively unchartered area seeking, as he does, to explore the art and concept of performance in Buddhism - more specially in the context of Buddhist meditation and theatre. Spelling out the epistemology of performance in all its different connotations and definitional nuances, his study opens out an astonishingly vast panorama of the Buddhist theatrical practices in Sri Lanka, China, Japan, Nepal, Tibet... and goes on to demonstrate how, within this panorama, three kinds of theatrical practice can be identified, each corresponding to one of the three paths open to a Buddhist: the karma path, the Bodhisattva option, and enlightenment, and each representative of one of the three main cultures of Buddhism - the Hinayana, Mahayana, Vajrayana. Supported by extensive endnotes and bibliographic references, Dr. George's book also carries a range of case studies of the art of performance in Buddhism, with definitive examples, among others, of the Sri Lankan Kandy dance and Karma drama, Tibetan Chams and Chod, and Japanese Noh.

Buddhism as/in Performance is a commendable piece of painstaking research, presented in a jargonless, compellingly readable style. It is certainly a pre-eminent contribution to drama studies, particularly of Buddhist theatrical practices.

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