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Audience participation in theatre

"The popularity of participatory work with audiences is greater than ever, but the invitation to participate is rarely given attention as a feature of performance, or an important element of practice in its own right. This book presents a theory of audience participation in the theatre, based o...

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Permalink: http://skupnikatalog.nsk.hr/Record/ffzg.KOHA-OAI-FFZG:338139/TOC
Glavni autor: White, Gareth (-)
Vrsta građe: Knjiga
Jezik: eng
Impresum: New York : Palgrave Macmillan, 2013.
Predmet:
Participatory theater.
Theater audiences.
kazališna publika
Sadržaj:
  • Machine generated contents note:
  • Acknowledgements
  • Introduction
  • 1. Audience Participation
  • 2. Why 'Aesthetics'?
  • 3. The Practice and Theory of Audience Participation
  • 4. Emancipating Spectators
  • 5. Subjectivity as Material and Medium
  • 6. The Structure of the Book
  • PART I: PROCESS AND PROCEDURE
  • 7. Antony Jackson and Frame Analysis
  • 8. Goffman's Frame Analysis
  • 9. The Frame Analysis of Audience Participation
  • 10. Roles and Resources
  • 11. Working Inside the Frame
  • 12. Control and Social Structure
  • 13. Horizons of Participation
  • 14. The Aesthetic Meaning of Agency
  • 15. Armadillo Theatre
  • 16. Analysing Armadillo's Procedure
  • PART II: RISK AND RATIONAL ACTION
  • 17. Risk in Performance
  • 18. Real and Perceived Risk
  • 19. Actual Risk in Audience Participation
  • 20. Horizons of Risk
  • 21. Risk Management as Procedural Authorship
  • 22. Ethical Issues in the Management of Real and Perceived Risk
  • 23. Protecting Participants into Involvement
  • 24. Reading the Audience Participant
  • 25. Performativity and the Public Self
  • 26. Know One's Fool
  • PART III: IRRATIONAL INTERACTIONS
  • 27. Emotion in Audience Participation
  • 28. Embodied Cognition and the Enactive Theory of Mind
  • 29. Empathy and Intersubjectivity in Audience Participation
  • 30. Laughter
  • 31. Crowds
  • 32. Liminality and Communitas
  • 33. Hypnosis
  • 34. Procedural Authorship and Harnessing Intersubjectivity
  • 35. De La Guarda's Liminoid Participation
  • 36. Embodiment, Enculturation and Meaning
  • PART IV: ACCEPTING THE INVITATION
  • 37. Theatre Audiences and Feedback Loops
  • 38. A New Horizon
  • 39. Weather on the Horizon
  • 40. Gaining Roles and Responsibilities
  • 41. Experiential Learning
  • 42. Reflexivity and Witnessing
  • 43. Self-Awareness and Self-Forgetfulness
  • 44. Autopoiesis, Allopoiesis, Heteropoiesis
  • 45. Tim Crouch: The Author and I, Malvolio
  • Conclusion
  • 46. The Procedural Author
  • 47. The Aesthetic Theory
  • 48. Making Special
  • 49. Patterning and Elaborating Participation
  • 50. The Aesthetic Regime.

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