How to approach, observe, describe
and analyze the astonishing diversity of performance practices
invented by humanity, without watering down or reducing, by some
predetermined mode of perception (either academic or aesthetic),
their original complexity? How to avoid confusing ahistorical analyses
with an historical objectivity that takes into account local values
of the performance practice? How to illustrate the “emergent
peaks” [von Bertalanffy] in the complex systems that performance
invokes, while at the same time accounting for performance’s
long process of elaboration? How to distinguish that which moves
the spectator from that which motivates the performer?
There is no one way to answer these methodological
questions. The complexity of Ethnoscenology’s subject necessitates
a multi-disciplinary approach.
In 1995, on May 3rd at UNESCO the Centre
was created. Now, ten years later, the idea of a “center” has
disappeared, giving way to an astonishingly rich international
research in the arts and sciences. Ethnoscenology, in its transdisciplinarity
incorporates such analogous disciplines as: Theater Anthropology,
Theatrical Anthropology of ISTA, Theaterethnologie, Performance
Within a few years, an important network of researchers has been
established. Conferences have been held in Cuernavaca (June 1996,
Mexico), Salvador (1997, Brazil), Paris (1998 and 2000, France).
Seminars and lectures are organized regularly by academic institutions.
Several doctoral theses have been defended in the discipline of
Ethnoscenology and others are in preparation.