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Studying European Theatre Audiences
This book reports on one of the largest co-ordinated efforts to survey the theatrical audience experience: the City Study of the Project on European Theatre Systems, which conducted over 7000 surveys and dozens of interviews and focus groups with audience members from four mid-sized cities across Europe. This study aimed to capture the details of how audiences perceive and value theatre, and resulted in a data set which, while imperfect, has no precedent in scale and comparability for theatre studies. Based on this very large data set, the authors were able to create a portrait of varied segments of European theatrical audiences, its experiences, and how it values theatre, that is more detai...
Festivalising!
Throughout the world festivals are growing - in numbers, in size, in significance - and serve as spaces where aesthetic encounters, religious and political celebrations, economic investments and public entertainment can take place. In this sense, festivals are theatrical events. Exploration of the theoretical frames of reference for the discussion about the present festival culture. Survey of 14 festival events throughout the world.
The Cambridge Companion to International Theatre Festivals
An up-to-date, contextualized assessment of the impact of the 'festivalization' of culture around the world.
Qualitative Exploration and Categorization of the Phenomenon of Active Audience Participation in "The Rocky Horror Picture Show"
Research Paper (postgraduate) from the year 2011 in the subject Theater Studies, Dance, grade: A-, Utrecht University, course: Topics in Theatre and Media Studies, language: English, abstract: The Rocky Horror Picture Show (RHPS), a film by Richard O'Brien, is probably the longest-running release in the history of moving picture with regular screenings (The Official Fan Site) since its release in 1975. Apart from that, also the screenings itself have a notorious tradition as most of them involve what is called by their fans audience participation. That means that the spectators are expected to actively involve in the story of the film by for example dressing up like one of the characters and...
Consciousness, Theatre, Literature and the Arts 2011
The essays collected in this volume were initially presented at the Fourth International Conference on Consciousness, Theatre, Literature and the Arts, held at the University of Lincoln, May 28–30, 2011. The conference was organised on the basis of the success of its predecessors in 2005, 2007 and 2009, and on the basis of the success of the Rodopi book series Consciousness, Literature and the Arts, which has to date seen thirty volumes in print, with another twelve in press or in the process of being written. The 2011 conference and the book series highlight the continuing growth of interest within the interdisciplinary field of consciousness studies, and in the distinct disciplines of theatre studies, literary studies, film studies, fine arts and music in the relationship between the object of these disciplines and human consciousness. Fifty-five delegates from twenty-eight countries across the world attended the May 2011 conference in Lincoln; their range of disciplines and approaches is reflected well in this book.
Playing Culture
In this volume, thirteen scholars contribute to illuminate the significance and possibilities of playing within the framework of theatrical events. Playing is understood as an essential part of theatrical communication, from acting on stage to events far from theatre buildings.
The Theatrical Event
The Theatrical Event discusses the objectives of theatre studies by focusing on the communicative encounter between performer and spectator—the theatrical event. A theatrical event includes the presentation of a performance and the attention of an audience; in this sense, every performance—on stage or in the street, historical or contemporary—that is watched by an audience is a theatrical event. The concept underlines the “eventness” of all encounters between performers and spectators. In the first part of the book, Willmar Sauter presents various models for the analysis of theatrical events, examining the relationship between performance and perception and the interaction between ...
