Theater companies employ these people. They are costume designers,
dance choreographers, set designers, fight choreographers. They spend
their lives learning the details of gesture, appearance, tool -- like
weapons or writing implements or scientific instruments. The performers --
dancers, musicians, actors -- learn and perform these practices. We put
a frame around them, called a stage -- or a film -- and attend them as
events. These practices DO exist in a social ecology; theater (or
performance, generally; I'm including film and TV). We buy tickets and pay
to observe them. Practices that we are interested in sell lots of tickets;
others sell fewer tickets.
To draw attention to the differentness of a practice, the designer of the
boundary between the audience and the theatrical event may play with
our perceptions of the practice -- by exaggerating it, running it in slow
motion, distorting it, repeating it; many ways of alerting the audience to
pay attention to it.
The theatricalization of a practice is inseparable from the audience. I would
not include relgious communities like the Mennonites as "museums of
practice," unless one wants to try to represent oneself as an "audience" in
such a community, which is, I can say from personal expereince (I live near
a set of Mennonite communities in Iowa) is not comfortably done.
Helena