Theatre And Its Audiences

Susan Bennett's highly successful Theatre Audiences is a unique full-length study of the audience as cultural phenomenon, which looks at both theories of spectatorship and the practice of different theatres and their audiences. Published here in a brand new updated edition, Theatre Audiences now includes: • a new preface by the author • a stunning extra chapter on intercultural theatre • a revised up-to-date bibliography. Theatre Audiences is a must-buy for teachers and students interested in spectatorship and theatre audiences, and will be valuable reading for practitioners and others involved in the theatre.

What does theatre do for – and to – those who witness, watch, and participate in it? Theatre & Audience provides a provocative overview of the questions raised by theatrical encounters between performers and audiences. Focusing on European and North American theatre and its audiences in the twentieth and twenty-first centuries, it explores belief in theatre's potential to influence, impact and transform. Illustrated by examples of performance which have sought to generate active audience involvement – from Brecht's epic theatre to the Blue Man Group – it seeks to unsettle any simple equation between audience participation and empowerment. Foreword by Lois Weaver.

Engaging Audiences asks what cognitive science can teach scholars of theatre studies about spectator response in the theatre. Bruce McConachie introduces insights from neuroscience and evolutionary theory to examine the dynamics of conscious attention, empathy and memory in theatre goers.

'Actors always talk about what the audience does. I don’t understand, we are just sitting here.' Audience as Performer proposes that in the theatre, there are two troupes of performers: the actors and the audience. Although academics have scrutinised how audiences respond, make meaning and co-create while watching a performance, little research has considered the behaviour of the theatre audience as a performance in and of itself. This insightful book describes how an audience performs through its myriad gestural, vocal and paralingual actions, and considers the following questions: If the audience are performers, who are their audiences? How have audiences’ roles changed throughout history? How do talkbacks and technology influence the audience’s role as critics? What influence does the audience have on the creation of community in theatre? How can the audience function as both consumer and co-creator? Drawing from over 140 interviews with audience members, actors and ushers in the UK, USA and Austrialia, Heim reveals the lived experience of audience members at the theatrical event. It is a fresh reading of mainstream audiences’ activities, bringing their voices to the fore and exploring their emerging new roles in the theatre of the Twenty-First Century.

Provides a general account of the Roman theater and its audience, and records some of the results of the author's experiments in constructing a full-scale replica stage based upon the wall paintings at Pompeii and Herculaneum, and producing Roman plays upon it.

Audiences are not what they used to be. Munching crisps or snapping selfies, chatting loudly or charging phones onstage – bad behaviour in theatre is apparently on the rise. And lately some spectators have begun to fight back... The Reasonable Audience explores the recent trend of ‘theatre etiquette’: an audience-led crusade to bring ‘manners and respect’ back to the auditorium. This comes at a time when, around the world, arts institutions are working to balance the traditional pleasures of receptive quietness with the need to foster more inclusive experiences. Through investigating the rhetorics of morality underpinning both sides of the argument, this book examines how models of 'good' and 'bad' spectatorship are constructed and legitimised. Is theatre etiquette actually snobbish? Are audiences really more selfish? Who gets to decide what counts as ‘reasonable’ within public space?Using theatre etiquette to explore wider issues of social participation, cultural exclusion, and the politics of identity, Kirsty Sedgman asks what it means to police the behaviour of others.

This book asks that we consider the practices that facilitate audience participation on equal terms with other elements of the theatre maker's art; it offers a theoretical basis for this new approach, illustrated by examples from diverse participatory performances.

This edited collection explores methods for conducting critical empirical research examining the potential impacts of theatrical events on audience members. Dani Snyder-Young and Matt Omasta present an overview of the burgeoning subfield of audience studies in theatre and performance studies, followed by an introduction to the wide range of ways scholars can study the experiences of spectators. Consisting of chapter-length case studies, the book addresses methodologies for examining spectatorship, including qualitative, quantitative, historical/historiographic, arts-based, participatory, and mixed methods approaches. This volume will be of great interest to theatre and performance studies scholars as well as industry professionals working in marketing, audience development, and community engagement.