Introduction to the Taxonomy of Performance

Introduction to the

Taxonomy of Performance

Introduction

In looking at different types of performance, it's important to give credit to all its many forms. From the actor enacting text on the stage, to the politician stumping for election, to the best friend performing an act of service, daily life is full of different types and levels of performance. So how can we tell one from another?

This Taxonomy of Performance offers the beginning means of classifying types of performance. Of necessity, much of this hierarchy will focus on Theatrical Performance. However, it the hope that this may prove useful and a beginning that others may refine.

Please note that the Taxonomy of Performance is the intellectual property of Emily C. A. Snyder.

Taxonomy of Performance

Each classification will be explicated in greater detail on separate pages. The ordering of the following classifications may be refined over time.

With all of these, though, it's worth remembering that Content Dictates Form. That is, all of your choices should flow from what story you are expressing, and how best to express it.

VERISIMILITUDE: The degree of closeness to reality. The difference between "Performing" and "Being."
EXPRESSION: The sensory means by which the Performance Text is generated, expressed and received
EMBODIMENT: The relationship between the Performer, Script, and Audience
FUNCTION: Which Elements of Theatre are emphasized in a script
FORM: The formatting of the Performance Text
STYLE: The types of ornamentation in the Performance Text

Additional Vocabulary

PERFORMER: The person who is presenting the Performance Text to an Audience
AUDIENCE: The person or persons who are receiving the Performance Text from the Performer
PERFORMANCE TEXT or SCRIPT: The "script," written or not, which proscribes the content of the Performance
ELEMENTS OF PERFORMANCE: The elements that go into the creation of the Performance Text

Example: Hamlet

So, the question might be...how does this thing work? Let's see how we get to, let's say, Shakespeare's Hamlet from our list.

VERISIMILITUDE: Theatrical - We clearly understand the Performer is performing, not being
EXPRESSION: Verbal: The primary expression of the Performance Text is generated through language
EMBODIMENT: Enacted: The primary way the Performance Text is embodied through characters acting in scene
FUNCTION: Narrative: The Elements of Theatre which are prioritized are plot and character
FORM: Verse: The primary formatting of the Performance Text is through verse formatting
STYLE: Poetic: The primary style of the language in the Performance Text is poetic

It should be noted that, rather like with the platypus, most performances will borrow different elements from various classifications. For example, while the Performance Text of Hamlet is largely verbal, it also employs song in Ophelia's mad scene, and kinaesthetic elements, such as the final sword duel. Similarly, not every line is in verse or poetic.

And although the character of Hamlet ponders what it means "to be," we understand that whoever's playing Hamlet isn't Hamlet himself, but is performing Hamlet.

It may seem ridiculous to have to point this out, but far too many people seem to have difficulty separating out performance from reality. Which is where you get such biases as the "anti-theatrical tradition" which goes all the way back to Greek theatre. This is when audience members convince themselves that if, say, the Performer enacting Hamlet stabs his fellow performer...then the person enacting Hamlet is in danger of becoming, in Reality, someone who goes around stabbing everyone.

So, no. Performers who are enacting even hot-headed father-stabbers are...well...performing. So, unclutch your pearls, friends. It's only pretend.