University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1999 Identifying the Maya through a study of their theatrical practices| A textual and contextual dramaturgy of the Mayan cultural performance heritage Ann C. Wright The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Wright, Ann C., "Identifying the Maya through a study of their theatrical practices| A textual and contextual dramaturgy of the Mayan cultural performance heritage" (1999). Graduate Student Theses, Dissertations, & Professional Papers. 2635. https://scholarworks.umt.edu/etd/2635 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. 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IDENTIFYING THE MAYA THROUGH A STUDY OF THEIR THEATRICAL PRACTICES A TEXTUAL AND CONTEXTUAL DRAMATURGY OF THE MAYAN CULTURAL PERFORMANCE HERITAGE ANN C. WRIGHT Presented in partial fuUtliment of the requirements for the degree of Master of Arts in Fine Arts The University of Montana 1999 APPROVED BY; in, Board of Examiners Dean, Graduate School Date UMI Number: EP35297 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI* UMI EP35297 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProOuesf ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Wright, Ann C.,M.A. August 1999 Fine Arts/Drama “Identifying the Maya Through a Study of Their Theatrical Practices” (121 pp.) Director: Dr. Randy Bolton ABSTRACT History and theater attempt to re-present significant occurrences of the past by interpreting human performances. Although we can never hope to actually recreate the past, when attempting to interpret multi-cultural interaction (i.e. the Maya and the Spanish at the time o f the initial encounters), both cultures’ perspectives, cultural heritages, and worldviews - not simpfy the interpretation o f one o f the participants - must be explored if a viable interpretation is to be initiated, and possible synthesis explored. The story o f this cultural collision, fi-om the Maya point o f view, is yet to be written, but a solution for developing a more viable history than currently available is suggested in tire contextual/ textual dramaturgy o f Maya theater. The Mayan culture o f Yucatan and Central America evolved from a s^iificantfy different set o f original values, hereditary experiences, and resultant worldview than those experienced in Europe. Their unique form of life was a theatrical production - a cyclical re-enactment o f their creation myth - encompassing all aspects of their daily life, and all community members - a lifestyle. Key to understanding the Maya worldview is their original concept ofKinh, an encompassing philosophy ofPan-chronotheism. This philosophy is outlined in the various uses of the calendm- systems, and translated into any number of expressions of the use of space, and understanding of reality. Because the Maya experienced no differentiation o f sciences, arts and morality, to interpret their culture as it had evolved by the time of the initial encounters, one must willingly suspend disbelief in an alien worldview, and submerse themselves in the cyclical, holistic philosophy and way of life o f these people as exemplified in their theater. The various expressions and uses of personal (behavioral) and theatiical performance mediums, examined through the lens o f contextual/textual dramaturgy, helps clarify the essential humanity and philosophical intent of these people. It offers a basis for initiating a more viable historical interpretation o f their interaction with others, and a deeper appreciation o f their unique cultural performance heritage. PREFACE A performance history of the indigenous cultures of the North and South American continents is absent from the most respected works on theater history, due to the fact that it has long been assumed that theater, in its traditional definition, was not present in the cultural expression of these civilizations. I contend, however, that it is a “forest-for-the-trees” issue. The performance heritage of the Maya culture, based in a unique concept of time as a literal and circular dimension, results in a theater experience and dramatis personae unparalled in Western experience. In addition, the disciplines of science, art, and morality, so fragmented in what has evolved into modem Western thought, were not only integrated in the base philosophy of this ancient civilizations, but that unity was also continually expressed in the scripted re­ enactments of their original creation myth. These re-enactments were repeated, again and again throughout the course of their history, in specific, calculated patterns based on their understanding and expression of the art and morality of their sciences within time. All members of society were included in the cast of characters necessary to completely re-enact this initial drama, and any individual’s deviation from the scripted performance text was believed to adversely affect the people, and their environment, as a whole. This study of individuals and groups, who were the product of an ancient and alien culture, an encompassing theatrical heritage, seeks to provide a more inclusive identity for the Mayan people and rediscover some of the mysteries of their ancient wisdom. We place those who performed in this past within a context in which they again assume a presence, and can once again speak for themselves. Through discovery a more complete identity for our subject, we begin to recognize what we may be missing in our own philosophical thought processes, or have lost along the way. The performance heritage evident in the cultural makeup of the Maya, as exemplified in the results of their various behavioral performances - their artifacts, documents, and arts - translates into a view of the iii human experience they may have actually enjoyed. It is a contextual and textual dramaturgy of a segment of humanity performing on their particular stage of experience. In this thesis I propose that in the beginning, for the Maya, there is a nebulous, intangible notion - a concept, an initial thought or idea - that came to be shared and embraced by the members of this indigenous community. Performance (in its various guises) is the primary manifestation of this original notion at the human level - our primary souree for defining or witnessing that idea. Performative action is taken in a multitude of manners, based on the individual attempting to express that shared notion. Some perform the concept through language and documentation, others through song, weaving, creation of story, ritual, dance, mathematics or astronomy. These various actions - these personal performances - result in the creation of secondary sources - tangible and semi-permanent artifacts that are an expression or interpretation of the original performance inspired by the original notion. Artifacts and documents, if maintained by a cultiue and preserved over time, can eventually be re­ discovered and studied by contemporary researchers and scholars. They offer a semblance of the nature of intent of the original performers. They must then be interpreted in a manner most closely representing the original intent of the creator if they are to offer even a reflection of that initial notion. 1 have selected the Maya civilization as a model for an initiation of the creation of this type of history. By focusing on the development and performance of various aspects of their cultural heritage, 1 begin to arrive at an identity for these people as th ^ had culturally evolved to the time of their initial encounters with the Spanish in 1517, and have continued to fimction into the present. This identity proves significantly different fi-om that portrayed in the interpretations of the Spanish alone - the Spanish documents that have served as the primary sources for much of the work conducted on the history of this important collision of cultures - or many other respected studies viewing the Maya from an essentially Western viewpoint. The Maya, however, interpreted only through the ^ e s and the philosophies of the West, fails to offer an accurate picture of the actual identity of these people, and can hardly offer a balanced view of the events that subsequently occurred in IV any supposed cultural synthesis. It is the purpose of my initial model work to attempt to imcover a more valid historical identity for the sixteenth-century Maya as it evolved through their own cultural development, and was demonstrated through their various means of personal performance.