He has been awarded numerous fellowships including Guggenheim, NEH, ACLS, and fellowships at Dartmouth, Cornell, Yale, Princeton, and the Central School of Speech and Drama, London.
[T]he function and the vocabulary of criticism and theory are important, difficult problems.
Few have had quite as much impact in both the academy and in the world of theatre production as Richard Schechner.
For more than four decades his work has challenged conventional definitions of theatre, ritual and performance.
Schechner combines his work in performance theory with innovative approaches to the broad spectrum of performance including theatre, play, ritual, dance, music, popular entertainments, sports, politics, performance in everyday life, etc.
in order to understand performative behavior not just as an object of study, but also as an active artistic-intellectual practice.
I knew it was more than what was appearing on the stages of New York, London, or Paris.
From the advent of Happenings in the early 1960s to the vibrant enactment on American streets of what Victor Turner termed “social drama” - the freedom movement led by thousands of ordinary people but iconicized in the eloquent words and enacted testimony of Martin Luther King, Jr.
With two exceptions, I wrote the essays in this book between 19. My interests had dramatically shifted from theater to performance and from aesthetics to the social sciences.
Today I write “performance, ” but at the time I wasn't sure what performance was.