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"Two Town Festivals:  Signs of A Theater of Power," by Sidney N Hetzler Jr, was published on Amazon Kindle May 17, 2012 for $9.99, or as a loaner if you have Prime.  It is listed on Amazon books at $14.95.     Contact:  Sid Hetzler, 423 618 6651

Amazon book link:  http://www.amazon.com/Two-Town-Festivals-Signs-Theater/dp/098533410X/ref=sr_1_2?s=books&ie=UTF8&qid=1337710363&sr=1-2

Amazon Kindle link:  http://www.amazon.com/Two-Town-Festivals-Theater-ebook/dp/B0084FR1TQ/ref=sr_1_1?s=books&ie=UTF8&qid=1337710363&sr=1-1

Author photo with waltz teacher Angela Amarillas, 2008 Halloween Waltz Weekend, Pocono Manor Inn, PA.

Cover image by Emanuele Luzzati, 1993 Spoleto festivals poster, "Papageno" from Mozart's Magic Flute, with permission Luzzati Museum, Genoa, Italy.

Book description:

    Two Town Festivals really is two, if not three, books with old and new work in one unique format, which was made possible and affordable for cultural leaders, artists, scholars and educators by Amazon's print on demand technology.
    First, it opens with a interpretive foreword by thesis director Timothy J. Reiss (New York University professor emeritus, comparative literature) and a brief summarizing author's note.
    Second, it includes a vintage 1990 Emory dissertation (plus Chattanooga's 1980-82 untold stories of origin in the re-included, unpublished Appendix B), which, as a still valid historical book reflecting its time and place, offers a broad perspective of late 20th century cultural philosophy, flavored with vivid experiences of the creators of Charleston's Spoleto Festival USA and Chattanooga's Riverbend Festival.
    Third, it offers a 45-page afterword reflecting how these original insights into cultural practices of diversity and intolerance influenced the author's Split Tree participatory arts theater from 1990-2007 and also shaped his political philosophy about the unending struggle between what he sees as "difference" and "sameness."
    Festivals today are so commonplace that we seldom notice their subtle power to shape our shifting ideas about performing and participatory arts, ranging from Charleston's Spoleto Festival USA to Burning Man Festival, Black Rock, Nevada.
    Two Town Festivals raises questions about artists and art power, artistic directors or their absence, festival ideas and forms of difference and sameness. It primarily compares the town festivals created by Charleston, SC (Spoleto) and Chattanooga, TN (Riverbend) in the late 1970’s and early 1980’s, and contrasts them with ideas underlying the Chautauqua Institution, Salzburg Festival and other festive celebrations.
    It examines the deep political philosophies that influenced them, as well as their stories of origin and consequences, by offering “views,” ways of seeing more than it suggests what to see, if you are standing in, experiencing and interpreting these theatrical “texts.” Its conceptual foundations offer workable ways to see shaded meanings, such as masked, even deceptive, differences and false diversity. When you stand in your four-dimensional text of a festival, these views extend your thinking tools to make sense of the many signs and symbols addressed to you the festival creators, owners and sponsors who control these "theaters of power."
    The principle arguments are: 1) we shape our festivals; thereafter our festivals shape us; 2) most festivals provide a model for accepting differences and diversity in life, and we learn to tolerate as normal the small or large range of diversity contained within a festival's time and space; 3) in a festival’s theatrical space the new and different, or traditional and sameness, are made visible, dramatizing the essential idea that “differences embrace sameness; sameness rejects difference.”
    These claims are derived from analysis of three key signifiers: the festival's relationship to empty spaces (its place), its purposes (its ideal), and the presence or absence of an artistic director (its force). These three elements create a festival's degree of difference or sameness. They provide the study's conceptual design and suggest, in their interdependence, several conclusions about the nature, function, and meaning of these two festivals and festival philosophy in general.
    Why the special focus on Menotti? Spoleto designer Piero Lorenzini expresses his experience in a 2009 letter, “The Festival Affair”: “Maestro Menotti was truly Spoleto’s magician. He could change the physiognomy of the town, transform it into a crescendo of emotions and lead its inhabitants, its life and its stones into a dream-world…for 50 years." It is for this reason the book's cover image evoking Menotti as a Pied Piper was chosen.

    -----------------------------

--Book Front Pages and Table of Contents--

Two Town Festivals

Signs of a Theater of Power

Sidney N Hetzler Jr

Copyright 1990 ©

Split Tree Press

 Sidney N Hetzler Jr

Book Publication 2012©

First Edition – Kindle Version

All rights reserved

Imprint:

Split Tree Press

597 West Cove Road

Chickamauga, GA 30707

United States of America

ISBN-13: 978-0985334116

ISBN-10: 098533410X

Library of Congress Control Number

2012905796

Library of Congress Subject Heading:

Festival, Artists, Artistic Director,

Urban Development

============================================================================================

DEDICATIONS

All Split Tree Participants -- 1990-2007

 

 Albert J. Sullivan -- 1990

Boston University

College of Communication

 

Who taught simple writing and values,

The right to true information,

And the right to participate

 

§§§

 

Timothy J. Reiss – 2012

New York University

 

A teacher who held the light

Without leading the way

 

§§§


 

Sorrel Hays -- 2012

Composer of opera and symphonic music

 

Who always led me to believe

I could do more than I could imagine

 

§§§

 

Barack Obama -- 2012

President, United States of America

 

Who perfected America by example

=====================================================================================

CONTENTS

FOREWORD AND AUTHOR’S NOTE.. vii

ACKNOWLEDGEMENTS - 1990. xvi

PREFACE.. xviii

Background. xviii

Subject and Scope. xxi

General Thesis. xxii

 

CHAPTER I  TIME AND PLACE OF DIFFERENCES:  THE IDEA OF A FESTIVAL THEATER   1

Stories of Origin. 1

Art Power and the Element of the Artistic Director. 3

The Element of the Empty Space. 5

Functions Mode of Analysis. 10

Perspectives and Semantic Framing. 15

Implications of Festivals Viewed  As a "Place of the Different"  18

 

CHAPTER II  SPOLETO FESTIVAL U.S.A.:  WHERE FOOTLIGHTS CAST NO SHADOWS  21

Menotti's New Theater. 21

Functions of a "Serious" Festival 23

Three Basic Elements:  Artistic Director, Empty Space, 27

Purposes. 27

Artistic Director: Why Menotti?. 28

The Empty City Space: Why Charleston?. 37

The Element of Purpose: Menotti's Festival Idea. 43

Difference and Sameness. 51

 

CHAPTER III   CHATTANOOGA'S RIVERBEND FESTIVAL:  FROM A THEATER OF DIFFERENCE TO A THEATER OF SAMENESS. 52

The Struggle to Fill the City's Empty Festival Space. 52

Absence of an Artistic Director. 56

The Element of Purpose:  Festival Planning Seminars. 59

Functions of the Riverbend Festival:  Embedded Meanings in Two Stories of Origin  63

Analysis of Riverbend Objectives. 66

Riverbend: Meanings and Messages. 71

 

CHAPTER IV    TWO TOWNS, TWO FESTIVALS,  MULTIPLE MEANINGS OF "FESTIVAL"  76

An "Arts" Festival-Creature Encounters its "Heritage" Habitat 76

Menotti's Logocracy. 78

Primary Function of a Festival:  Chautauqua--Forum for Conflicting Views  79

Comparative Categories. 86

Retrospective. 91

Restatement of Claims:  Intent, Function, Effect 92

Four Conclusions: Festivals' Shaping of “Reality,” Openness, Conflict, Play  96

Toward a Semiotic of Festival 99

 

GENERAL BIBLIOGRAPHY. 105

APPENDIX A   SPOLETO FESTIVAL U.S.A. MATERIALS. 118

APPENDIX B  RIVERBEND FESTIVAL CHRONOLOGY. 159

AND STORIES OF ORIGIN.. 159

APPENDIX  C     DISSERTATION FRONT MATERIALS. 199

NOTES. 203

AFTERWORD – May 2012. 228


======================================================================================

 

Nothing is absolutely dead: every meaning will have its homecoming festival.

M. M. Bakhtin
"Methodology for the Human Sciences"

 Speech Genres & Other Late Essays

Chautauqua is a place, an ideal, and a force.

John Heyl Vincent, Founder
Chautauqua Institution, Jamestown, NY
1880’s, quoted on a postcard picturing the audience
in a traveling Chautauqua lyceum tent

 

Art, then, is an increase of life, a sort of
competition of surprises that stimulates our
consciousness and keeps it from becoming somnolent.

Gaston Bachelard
The Poetics of Space

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Updated:  03/01/2017