Local Knowledge (Text Only). Clifford Geertz

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СКАЧАТЬ but to take the drama analogy seriously is to probe behind such familiar ironies to the expressive devices that make collective life seem anything at all. The trouble with analogies—it is also their glory—is that they connect what they compare in both directions. Having trifled with theater’s idiom, some social scientists find themselves drawn into the rather tangled coils of its aesthetic.

      Such a more thoroughgoing exploitation of the drama analogy in social theory—as an analogy, not an incidental metaphor—has grown out of sources in the humanities not altogether commensurable. On the one hand, there has been the so-called ritual theory of drama associated with such diverse figures as Jane Harrison, Francis Fergusson, T. S. Eliot, and Antonin Artaud. On the other, there is the symbolic action—“dramatism,” as he calls it—of the American literary theorist and philosopher Kenneth Burke, whose influence is, in the United States anyway, at once enormous and—because almost no one actually uses his baroque vocabulary, with its reductions, ratios, and so on—elusive. The trouble is, these approaches pull in rather opposite directions: the ritual theory toward the affinities of theater and religion—drama as communion, the temple as stage; the symbolic action theory toward those of theater and rhetoric—drama as persuasion, the platform as stage. And this leaves the basis of the analogy—just what in the theatron is like what in the agora—hard to focus. That liturgy and ideology are histrionic is obvious enough, as it is that etiquette and advertising are. But just what that means is a good deal less so.

      Probably the foremost proponent of the ritual theory approach in the social sciences right now is Victor Turner. A British formed, American re-formed anthropologist, Turner, in a remarkable series of works trained on the ceremonial life of a Central African tribe, has developed a conception of “social drama” as a regenerative process that, rather like Goffman’s of “social gaming” as strategic interaction, has drawn to it such a large number of able researchers as to produce a distinct and powerful interpretive school.

      For Turner, social dramas occur “on all levels of social organization from state to family.” They arise out of conflict situations—a village falls into factions, a husband beats a wife, a region rises against the state—and proceed to their denouements through publicly performed conventionalized behavior. As the conflict swells to crisis and the excited fluidity of heightened emotion, where people feel at once more enclosed in a common mood and loosened from their social moorings, ritualized forms of authority—litigation, feud, sacrifice, prayer—are invoked to contain it and render it orderly. If they succeed, the breach is healed and the status quo, or something resembling it, is restored; if they do not, it is accepted as incapable of remedy and things fall apart into various sorts of unhappy endings: migrations, divorces, or murders in the cathedral. With differing degrees of strictness and detail, Turner and his followers have applied this schema to tribal passage rites, curing ceremonies, and judicial processes; to Mexican insurrections, Icelandic sagas, and Thomas Becket’s difficulties with Henry II; to picaresque narrative, millenarian movements, Caribbean carnivals, and Indian peyote hunts; and to the political upheaval of the sixties. A form for all seasons.

      This hospitableness in the face of cases is at once the major strength of the ritual theory version of the drama analogy and its most prominent weakness. It can expose some of the profoundest features of social process, but at the expense of making vividly disparate matters look drably homogeneous.

      Rooted as it is in the repetitive performance dimensions of social action—the reenactment and thus the reexperiencing of known form—the ritual theory not only brings out the temporal and collective dimensions of such action and its inherently public nature with particular sharpness; it brings out also its power to transmute not just opinions but, as the British critic Charles Morgan has said with respect to drama proper, the people who hold them. “The great impact [of the theater],” Morgan writes, “is neither a persuasion of the intellect nor a beguiling of the senses. . . . It is the enveloping movement of the whole drama on the soul of man. We surrender and are changed.” Or at least we are when the magic works. What Morgan, in another fine phrase, calls “the suspense of form . . . the incompleteness of a known completion,” is the source of the power of this “enveloping movement,” a power, as the ritual theorists have shown, that is hardly less forceful (and hardly less likely to be seen as otherworldly) when the movement appears in a female initiation rite, a peasant revolution, a national epic, or a star chamber.

      Yet these formally similar processes have different content. They say, as we might put it, rather different things, and thus have rather different implications for social life. And though ritual theorists are hardly incognizant of that fact, they are, precisely because they are so concerned with the general movement of things, ill-equipped to deal with it. The great dramatic rhythms, the commanding forms of theater, are perceived in social processes of all sorts, shapes, and significances (though ritual theorists in fact do much better with the cyclical, restorative periodicities of comedy than the linear, consuming progressions of tragedy, whose ends tend to be seen as misfires rather than fulfillments). Yet the individuating details, the sort of thing that makes A Winter’s Tale different from Measure for Measure, Macbeth from Hamlet, are left to encyclopedic empiricism: massive documentation of a single proposition—plus ça change, plus c’est le même changement. If dramas are, to adapt a phrase of Susanne Langer’s, poems in the mode of action, something is being missed: what exactly, socially, the poems say.

      This unpacking of performed meaning is what the symbolic action approaches are designed to accomplish. Here there is no single name to cite, just a growing catalogue of particular studies, some dependent on Kenneth Burke, some on Ernst Cassirer, Northrop Frye, Michel Foucault, or Emile Durkheim, concerned to say what some bit of acted saying—a coronation, a sermon, a riot, an execution—says. If ritual theorists, their eye on experience, tend to be hedgehogs, symbolic action theorists, their eye on expression, tend to be foxes.

      Given the dialectical nature of things, we all need our opponents, and both sorts of approach are essential. What we are most in want of right now is some way of synthesizing them. In my own analysis of the traditional Indic polity in Bali as a “theater state”—cited here not because it is exemplary, but because it is mine—I have tried to address this problem. In this analysis I am concerned, on the one hand (the Burkean one), to show how everything from kin group organization, trade, customary law, and water control to mythology, architecture, iconography, and cremation combines to a dramatized statement of a distinct form of political theory, a particular conception of what status, power, authority, and government are and should be: namely, a replication of the world of the gods that is at the same time a template for that of men. The state enacts an image of order that—a model for its beholders, in and of itself—orders society. On the other hand (the Turner one), as the populace at large does not merely view the state’s expressions as so many gaping spectators but is caught up bodily in them, and especially in the great, mass ceremonies—political operas of Burgundian dimensions—that form their heart, the sort of “we surrender and are changed” power of drama to shape experience is the strong force that holds the polity together. Reiterated form, staged and acted by its own audience, makes (to a degree, for no theater ever wholly works) theory fact.

      But my point is that some of those fit to judge work of this kind ought to be humanists who reputedly know something about what theater and mimesis and rhetoric are, and not just with respect to my work but to that of the whole steadily broadening stream of social analyses in which the drama analogy is, in one form or another, governing. At a time when social scientists are chattering about actors, scenes, plots, performances, and personae, and humanists are mumbling about motives, authority, persuasion, exchange, and hierarchy, the line between the two, however comforting to the puritan on the one side and the cavalier on the other, seems uncertain indeed.

      IV

      The text analogy now taken up by social scientists is, in some ways, the broadest of the recent refigurations of social theory, the most venturesome, and the least well developed. Even more than “game” or “drama,” “text” is a dangerously unfocused term, and its application СКАЧАТЬ