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raymond firth defines ritual as “a formal set of procedures of a symbolic kind, involving social communication, and believed to possess an efficacy of themselves in changing the technical or social conditions of the performers or other participants.”
in most cultures, theatrical and musical performances are specifically ritual performances, with no division between audience and performer.
performer/character
while much 20th century experimental theater blurred divisions between audience and performers, ritual does not distinguish between audience and performers.
the performers in ritual are presumably transformed into the represented roles in ways not possible in conventional theater.
use of masks
w. anthony sheppard states that "covering the face renders the individual performer anonymous and neutralizes his or her humanity. at the same time, the performer is defined anew by the mask and is transformed."
the performer is both constrained by the fixed facial expression and liberated to explore the expressivity of the voice and the body. the mask enables the performer to enjoy the freedom to gaze anonymously in a darkened auditorium which is normally reserved for the audience.
reconceptualization of the role of the performer
the performer is to function as the performance’s devoted servant, no longer assuming the identity as an entertainer expecting the praises from the audience. moreover, the traditional categories (actor, dancer, singer, etc) are no longer applicable, a total, sacred performer is required. preparation for the performance then involves far more than rehearsals, the performers also needed to undergo training for their characters. the performer is thus both elevated by the work and made more subservient to the creator of the performance.
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