Dissertations / Theses on the topic 'Audience'
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Scollen, Rebecca. "Building new theatre audiences: Post performance audience reception in action." Thesis, Queensland University of Technology, 2002. https://eprints.qut.edu.au/36428/1/36428_Digitised%20Thesis.pdf.
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The aim of this research is to arrive at an effective method for gathering and analysing nontheatregoers' reception of theatrical performance. It is anticipated that this method will provide insight into non-theatregoers' reasons for non-attendance, their reactions to theatre productions, and the likelihood that they might change their attitudes towards theatregoing and become theatre attenders in the future.
A combined methodical approach to audience reception is created by adapting and combining the methods of Sauter (1986), Lidstone (1996), Knodel (1993) and Krueger (1994), and the model of Miles and Huberman (1984). This approach consists of a collection of questionnaires, a series of post performance group discussions, and analytical methods designed for examining qualitative data. This approach is tested and refined across three studies: a 1997 Pilot Study, a 1998 La Boite Theatre Study, and a 2000 Queensland Theatre Company Study.
The primary result of this research is the emergence of the Scollen Post Performance Audience Reception (SPP AR) method for audience development. This method is the refined final version of the rigorously tested combined approach. Other results include the formation of a non-theatregoer profile; an understanding of how non-theatregoers perceive performances; the discovery that gender, age, and income have no direct impact on theatre attendance or reception of theatrical performance; confirmation that exposure to performance and an arts education increases interest and confidence in theatregoing; and that self and peer education is an effective way for non-theatregoers to learn about theatre.
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Cucciarre, Christine Peters. "Audience Matters: Exploring Audience in Undergraduate Creative Writing." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1224415510.
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Morris, Amanda. "Investigating the 'Audience' in Theatre for Young Audiences: The Call for Artistic Educators." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2199.
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Theatre history provides little information on theatre audiences and how the concept of an audience has changed over time. Through the investigation of theatre history texts, theatre theorists' manifestos, and interviews with workers in the field of theatre for young audiences, this thesis outlines the theatre audience from the first performance to the present and examines how the history of the concept of "child" and young audiences has developed in recent years. Opposing views exist on the subject of how a child is perceived as well as the purpose and role of a theatre audience. In this thesis, I investigate the classical, romantic, realist, modern, and current theatre movements and how scholars and theorists have perceived or written about their audiences in an effort to cultivate an understanding of what an audience is today and how the concept of theatre etiquette has or has not changed throughout history in order to relate these findings to experiences of audiences today. I began this thesis with a general knowledge of "audience," from a personal perspective as a performer and audience member. However, through my collected data, I find that audiences are valued in distinctive ways throughout various movements in theatre history. With this understanding, I wrote a short book to help young audience members to understand what the present conventions are as a theatre audience member.M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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Sochová, Tereza. "AUDIENCE DEVELOPMENT." Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-96987.
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The goal of this thesis is a thorough investigation of questions and potential of the marketing strategy called AUDIENCE DEVELOPMENT.
The structure of the thesis proceeds from the generally accepted marketing knowledge to the specific possibilities of audience development. It analyses theoretical strategies of audience development as well as concrete instruments used to acquire new customers and also to satisfy and stimulate current customers. A practical proposal of an audience development concept is demonstrated by DISK theater case study.
The concrete goal of this thesis is to serve as an auxiliary material for smaller theater groups or amateur theaters which would like to improve their own work with audience. Therefore, I tried to write the text in an intelligible form and accompany most claims by practical examples.
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Seles, Sheila Murphy. "Audience research for fun and profit : rediscovering the value of television audiences." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/59574.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2010.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student submitted PDF version of thesis.
Includes bibliographical references (p. 121-128).
The American television industry is in a moment of transition because of changes brought about by digital distribution and audience fragmentation. This thesis argues that the television industry can no longer adapt to the changing media landscape because structural relationships and business logics forged in previous eras do not allow for meaningful innovation. This project investigates how these relationships evolved and how they can be made more flexible to meet the challenges of digital distribution and digitally networked audiences. Legacy relationships, logics, and measurement methods have prevented the television industry from maximizing the value of increasingly fragmented television audiences. Publishers, advertisers, and measurement companies have historically been able to get around the limitations of their relationships to one another, but they are now faced with increasing competition from digital companies that understand how to make fragmented audiences valuable. This thesis argues that the methodologies and corporate ethos of successful online companies can serve as a model for the television industry, or they can be its undoing. This project also argues that the television ratings system is no longer serving the television industry, the advertising industry, and television audiences. The television industry has the opportunity to develop a system of audience measurement that maintains the residual value of television audiences while accounting for the value of audience expression. To leverage the true value of the television audience, the television industry must reconcile the commodity value of the audience with the cultural value that viewers derive from television programming. This thesis proposes that the cultural value of content should augment the commodity value of the audience. This project concludes that the television industry should reconfigure its economic structure by looking to other digital business, experimenting with new business models online, and actively exploring emergent sites of audience value.
by Sheila Murphy Seles.
S.M.
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Rudolph, Kendra. "Television newsmagazines and the audience: a textual analysis and audience survey." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/RudolphK2004.pdf.
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Vine, Cedric Everard William. "The audience of Matthew : an appraisal of the local audience thesis." Thesis, University of Sheffield, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.575743.
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This thesis seeks to establish the inadequacy of readings of the Gospel of Matthew as intended for, and a reflection of, a local audience or community. Despite repeated challenges, the local audience thesis continues to dominate a large proportion of Matthean scholarship, and, as such, the issue of determining the Gospel's audience remains an open question. This thesis posits four main critiques. First, the assumptions which underpin the text- focused process of identifying the Gospel's audience, whether deemed to be local, Jewish, or universal, lack clarity. Literary entities such as the implied reader, the intended reader, or the authorial audience, prove inadequate as a means of identifying the Gospel's audience. Second, local audience readings necessarily exclude plot-related developments and are both selective and restrictive in their treatment of characterisation. Much is lost or ignored, as a coherent and simplified audience context is derived from the complex narrative world of the Gospel. Third, this thesis argues that many in an audience of the Gospel would have incorporated their experience of hearing Matthew within pre-existing mental representations shaped by Mark or other early traditions. Thus, they would have understood the Gospel as relating to events and settings distinct from their own context, regardless of the degree to which they identified with characters or events in the Gospel. Fourth, this thesis argues that early Christian audiences were largely heterogeneous in terms of ethnicity, age, sex, wealth, familiarity with Christian traditions, and levels of commitment. As such, the aural reception of the Gospel would have resulted in a variety of impacts. A number of these critiques extend beyond the local audience option and for this reason this thesis does not posit a particular audience for the Gospel.
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Carter, Danielle Catherine. "Envisaged, invited and actual audiences: A new model to approach audience research in Australian community-engaged performance projects." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/127464/1/Danielle_Carter_Thesis.pdf.
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This study investigates different approaches to theatre audience studies to develop a new practical model for examining the embedded and intrinsic audiences in community-engaged performance projects with social orientations. The practical model is empirically tested in two Australian case studies, and augmented and enhanced through its application in three key audience categories: Envisaged Audience, Invited Audience and Actual Audience. This study argues that the proposed model is a useful tool for industry, in particular, to locate, illuminate and disrupt different points of views on audiences held by community stakeholders, and to integrate perceptions on the audience with actual audience experiences.
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Pinchen, Jennifer E. "The audience as critic : a study of audience responses to popular theatre." Thesis, Loughborough University, 1990. https://dspace.lboro.ac.uk/2134/6938.
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To begin with, the role of theatre, and especially popular theatre, is contextualised within the theory of art and society and the debate about 'popular' and 'mass' culture. The thesis attempts to reassess the possibilities for positive and dynamic relations between audience and theatre within this context, through an investigation of some actual relationships between them. What is defined as 'mainstream' theatre is the basis of the research. The three major productions studied are A Day in the Death of Joe Egg by Peter Nichols, Bloody Poetry by Howard Brenton, and Blood Brothers by Willy Russell. Qualitative research on audience responses for each play resulted in 37 in-depth interviews. A chapter is devoted to the problem of methodology for such a qualitative study; in particular, to the lack of any model method for analysis. The interview material is presented and discussed play by play. Initially, a broad 'consensus' view of each play, provides a background to the description and analysis of responses. Analysis is carried out under the headings of different 'cultural profiles', determined in relation to the play as 'accordant', 'discordant' or 'neutral' in orientation. The influences of such cultural profiles are shown in some cases to predetermine the perceived meaning or effect of the play, independently of the executants' intentions. Some responses are more readily understood as determined most importantly by a personal 'inner history', which can be even more resilient to change. Despite the predominance of habitual notions, it is found that particular kinds of theatrical technique are more successful than others in overriding biases corresponding to cultural profile. This is especially true of theatricality which raises the emotional identification of respondents with characters or events on stage without mobilising stereotypes. Findings indicate the importance of the cultural profile and personal history of audiences in any theory of the theatre's social function. The innate conservatism which characterises cultural profiles is seen to be a crucial factor. Conclusions suggest a need for models which do not rely on preconceptions or hidden assumptions about audience response. In addition, the emphasis which emerges on the autonomy of audience as critic and creator raises questions about the function and aspirations of certain types of theatre.
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Moritz, Jonatan. "Mobile audience response system." Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-226615.
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Utnarm is an employment fair and is held once every year in November and is always striving towards a better and meaningful fair. Last year they took a step towards that goal. An application for Android and IPhone were developed and released. It had the basic functions that could be used that year. This year Utnarm wants to improve the applications and fulfill the students’ experience. An audience response system could result in companies getting a closer connection to the students during lectures. The apps are easy accessible for students. This thesis describes the implementation of a system on two different platforms and the similarities and differences between them. This is accomplished by, using the model-view-controller design pattern in object-oriented programming, the help of the human interface guidelines and with a focus on usability and user experience. The result showed that there are differences and similarities and that it is easy to forget about them when focusing on an application. The functionality should be the same but the user interface should be different to make the user feel at home.
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Williams, Kate Louise. "The Audience That Acts." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15862.
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This thesis explores an evolution of the relationship between socially-engaged artists and audiences, focusing on a number of strategies through which this connection is being renegotiated, and how these tactics have allowed a new model of artist-audience collaboration to emerge. The model that is proposed is one that positions the artist as a conduit as opposed to an originator. By this I define 'the artist' as one who conducts ideas, as copper wire conducts electrical current, and the 'active audience' as someone who makes use of the energy of those ideas to bring about an act of their own creation. In this way the artist becomes a catalyst for different perspectives and 'artworks' become subversive through the power and resilience of human imagination. The emergence of these forms of collaborative practice, loosely termed 'socially-engaged', is charted through case studies of my own work and the innovations of a number of artists over the past fifty years. These practices share many things in common, including an ability to move easily between modes of engagement with audiences, and the institutional, communal or virtual sites that audiences occupy. Artworks developed in these marginal zones between audience and artist often go unacknowledged (as art), and it is for this very reason they are able to become such potent tactical forms of infiltration of power, shining a light on the invisible to make it visible. It is at these sites of energy transferal that audiences can discover a new articulation of their resistance. In an attempt to reflect in textual form the way that the relationship between artist and audience is being renegotiated, this thesis includes a combination of autoethnographic qualitative research narrated in the first-person, and analysis of theorists, practitioners and audiences in the third-person.
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Piening, Simon. "The idea of audience : audience development and the creative industries in Australia's small-to-medium performing arts sector." Thesis, Federation University Australia, 2022. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/185173.
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In recent decades, the governance of arts and culture in Australia has been dominated by the “creative industries” model, which is a market-driven approach to cultural policy that seeks to bring together those workers who operate in the realm of creativity with those who have the knowledge and resources to monetise their creative output. The increased focus on market outcomes has resulted in the need for arts organisation to pay much greater attention to developing audiences and cultivating consumers for the arts. However, strikingly absent from much of the discussion concerning audience development in the arts has been the voices of the artists and arts workers themselves, whose work sits at the very heart of any relationship with the audience. The research study that is the subject of this thesis sought to better understand the audience relationship from the perspective of artists and arts workers operating in Melbourne’s small-to-medium performing arts sector, which is a not-for-profit niche of the performing arts industry that has been charged with creating new works and pushing creative boundaries. In light of the increasingly marketised environment for cultural production, the study asked two broad questions: How do these arts professionals conceptualise their relationship with the audience?; and What role do they envisage for the performing arts in their communities? Through individual interviews and a series of group discussions occurring over a 12-month period between 2017 and 2018, arts professionals from the small-to-medium performing arts sector in Melbourne, Australia, discussed the ways in which the rise of the market-oriented creative industries had been impacting on their understanding of, and relationship with, the audience. The study found that the growing demands of the market and the commodification of artistic work had, for many arts professionals, increased the sense of distance between the artist and the audience and had resulted in confusion over the role and value of art in contemporary society. Despite this, arts workers, through their craft, were seeking greater engagement with their communities and were contributing to a more diverse and robust public sphere. As the authors and architects of the aesthetic experience, artists, arts workers and arts organisations have a profound impact in shaping the audience’s understanding of, and relationship with, the arts (Belfiore & Bennett, 2008). Yet much audience development research and practice has focused on understanding the attitudes and motivations of audience members in relation to the arts and ignored or minimised the important contribution that artists themselves might be making to developing audiences. This study’s aim was to address a significant gap in the understanding of the needs and motivations of arts professionals with regard to their relationship with the audience, and, in so doing, argued for a re-imagining of the field and practice of audience development that considers the needs of both the producers and consumers of culture.Doctor of Philosophy
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Scott, Jane Margaret Marketing Australian School of Business UNSW. "The role of the audience in product placement: development of an audience engrossment scale." Publisher:University of New South Wales. Marketing, 2008. http://handle.unsw.edu.au/1959.4/41237.
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Product placement is now a US$7.76 billion industry, flourishing as advertisers attempt to combat audience sophistication, zipping, zapping, muting of commercials, TiVo, media multi-tasking, the Internet and digital television, all of which may signal the death knell of the interruptive commercial model. Yet whilst research on product placement is growing, it has not kept pace with the practice, and many findings do not converge across studies. This is likely the case because parameters remain undefined and there is no operational framework to describe how product placements are processed, and no agreement as to what effects are possible or how they should be examined. Most effects-based research has focussed on executional factors and what the product placement does to the audience member. This assumes that the recipient is a passive participant. However this thesis argues that the audience member is actually an active processor who should be the focus of research. This research distinguishes product placement from related activities and develops a new conceptual model of product placement processing. It puts a strong focus on the role of the audience member, stating that their level of familiarity of the placed brands, and their level of engrossment with the entertainment story will impact their recognition of product placements in that story. Applying Rasch Measurement Theory, an Audience Engrossment scale is developed and refined over four stages of data collection, with 1360 respondents across seven films, to capture the quality of people??s interaction with a film. The result is a scale comprising 19 feeling items, 10 arousal items, 6 appraisal items and 7 cognitive effort items. The scale was then tested as part of the conceptual model, with 191 participants watching The Island and completing questionnaires after the film relating to their recognition of brands within the film and their level of engrossment. Brand familiarity information was collected four weeks earlier. Onset prominence, high plot connection, dual modality and use by star were found to have the strongest direct effects on recognition, with brand familiarity and the four audience engrossment dimensions generally found to interact with the product placement characteristics as hypothesised.
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Bubb, Claire Coiro. "Galen's Anatomy: Audience and Context." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11500.
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This dissertation examines Galen of Pergamon's text On Anatomical Procedures (De anatomicis administrationibus) and considers its audience and purpose. The first chapter presents the audience of the text as Galen perceived it; I use Galen's explicit rhetoric about his readers to paint a picture of his ideal envisioned audience and then measure this against the concrete expectations that he conveys through the explicit and implicit prerequisites he demands of his readers. The second chapter, by contrast, makes strides towards uncovering the actual audience of the work by examining the ramifications of Galen's expectation that his readers will actively participate in the studies he describes; I study the availability of the books, tools, and animals that he expects his audience to be able to purchase, in order to understand the financial and social implications. The third chapter considers the text itself, taking into account the manner and timing of its composition, Galen's linguistic choices vis-à-vis his audience, and the details of his specific directions; I use this analysis to define the nature of the text and how the audience was expected to interact with it, thus necessarily engaging with the norms in ancient medical education and the role that books found there. The fourth and final chapter compares the text to his other anatomical writings, particularly his more descriptive and philosophically oriented treatise, De usu partium, as a final way to determine the purpose of this highly unusual work and its place both in his oeuvre and in its contemporary environment.The Classics
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Aaltonen, Aleksi. "Manufacturing the digital advertising audience." Thesis, London School of Economics and Political Science (University of London), 2011. http://etheses.lse.ac.uk/198/.
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How does a new medium create its audience? This study takes the business model of commercial media as its starting point and identifies industrial audience measurement as a constitutive operation in creating the sellable asset of advertisingfunded companies. The study employs a qualitative case study design to analyse how a mobile virtual network operator (MVNO) company harnesses digital behavioural records generated by computational network infrastructure to turn network subscribers into an advertising audience product. The empirical evidence is based on a three-months intensive fieldwork at the company office. The analysis reveals comprehensiveness, openness and granularity as the historically new attributes of computational data vis-à-vis traditional audience measurement arrangements. These attributes are then juxtaposed with four kinds of business analytical operations (automatic data aggregation procedures, the use of software reporting tools, organizational reporting practices and custom analyses) observed at the research site to assess how does computational media environment rule key audiencemaking practices. Finally, the implications of this analytical infrastructure are reflected upon three sets of organizational practices. The theoretical framework for the analysis is composed by critically assessing constructivist approaches (SCOT, ANT and sociomateriality) for studying technology and by discussing an approach inspired by critical realism to overcome their limitations with respect to the objectives of the study. The findings contribute toward innovating new digital services, information systems (IS) theory and the study of media audiences. The case opens up considerable complexity involved in establishing a new kind of advertising audience and, more generally, a platform business. Sending out advertisements is easy compared to demonstrating that somebody is actually receiving them. The three computational attributes both extend and provide summative validity for mid-range theorizing on how computational objects mediate organizational practices and processes. Finally, the analysis reveals an interactive nature of digital audience stemming from the direct and immediate behavioural feedback in an audiencemaking cycle.
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Tomlinson, Elizabeth Conrad-Reiter. "Conceptualizing Audience in Digital Invention." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1301687542.
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Murphy, Charles Matthew. "Audience design in elite rhetoric." Diss., UC access only, 2009. http://proquest.umi.com/pqdweb?index=18&did=1907270861&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1270075684&clientId=48051.
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Thesis (Ph. D.)--University of California, Riverside, 2009.Includes abstract. Includes bibliographical references (leaves 115-123). Issued in print and online. Available via ProQuest Digital Dissertations.
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Lin, Jun-Ye. "Atrocity images and the Audience." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-364684.
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Susan Sontag’s reviews and descriptions of agony images is the keystone of war photography. From On photography(1977) to Regarding the Pain of Others(2003), Sontag wrote about how agony images could affect the majority of people. Media ruled photographs and used them as its own container. Through her book, the passiveness of the audiences was examined. She criticised the way of how people looked at an agony image. According to her, audiences constantly consumed other’s pain if the they are far away. She judged repeating formats and simplified messages from media which numb the sensation of people, the surfeit of similar horrendous images turned an audience into a consumer. “Is a photograph ever “real”? she asked. Firstly, within in my thesis I would like to to examine the relevancy of Sontag theory, her interests in emotion in charge of atrocity and pain. To found out the possible respond of the audience, in respect to war in contemporary art photography. When artists have the chance to turn their camera from those atrocity on sites, what could be the differences in audiences’ reactions from traditional war photojournalist. Moreover, Sontag’s concept “the audience as consumers” will be traced back to its basic elements. To scan the particular words and phrase which Sontag used in her two books. Secondly, use Regarding the Pain of Others(2003) as a starting point of the timeline, then search for the critical thoughts which against or support Sontag’s words during the decade. Furthermore, use different concepts of the agony images to examine the remarkable singular atrocity images and the art works relate to war and atrocity. To explore the change according to the interaction between atrocity and contemporary photography and their audiences. After all, use the dialects between the theories and the war in contemporary art photography to extent the perspective from Regarding the Pain of Others(2003) to get closer to our time — to build the the reference of how to see an agony image.
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Lindblom, Shari. "Audience connectivity in orchestral performances." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/20533/1/Shari_Lindblom_Thesis.pdf.
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With the general global decline in the popularity and profitability of traditional orchestras, ways to build new audiences, develop new repertoires and create new networks and business partnerships are being explored. The aim of this thesis is to analyse the various elements of a proposed Orchestral Sustainability Framework and determine if and how these elements contribute to an increased audience connection with the music performance experience. Three main elements are explored in this Orchestral Sustainability Framework: 1. Social aspects of audience connection such as performer/audience interaction and ways of emotional engagement 2. Artistic aspects of audience connection such as the impact of poly-stylistic genres, blend of instruments and sounds and the importance of inter-sensory perception using visuals, theatre and music 3. Economic aspects of audience connection such as networking with business partnerships, impact of branding and marketing and the importance of distribution channels Audience reactions are central to this approach. Audiences from a variety of existing orchestral models have been researched through case studies, interviews, surveys, focus groups and participant observation. An orchestra, formed specifically for this project, performed to selected audiences and at the Brisbane Festival of Arts in 2006 and is now achieving commercialisation. The style of this orchestra is characterised by audience and performer interactivity, theatrical staging, visuals, spontaneity and less formality. Research has been conducted on this orchestral model, with contributions from the musicians, directors, producers, promoters and audiences. The research hypothesis proposes that a greater connectivity with the audience results in a more sustainable product, where sustainability is indicated by the orchestras’ ability to generate a sufficient amount of box office revenue and sponsorship. A variety of different models are considered which demonstrate orchestras that can achieve their mission of satisfying their audience, while being financial viable. The findings from the literature and the case studies clearly demonstrate the importance of many elements in the sustainability framework to achieve a greater level of audience connection with the orchestra.
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Lindblom, Shari. "Audience connectivity in orchestral performances." Queensland University of Technology, 2009. http://eprints.qut.edu.au/20533/.
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With the general global decline in the popularity and profitability of traditional orchestras, ways to build new audiences, develop new repertoires and create new networks and business partnerships are being explored. The aim of this thesis is to analyse the various elements of a proposed Orchestral Sustainability Framework and determine if and how these elements contribute to an increased audience connection with the music performance experience. Three main elements are explored in this Orchestral Sustainability Framework: 1. Social aspects of audience connection such as performer/audience interaction and ways of emotional engagement 2. Artistic aspects of audience connection such as the impact of poly-stylistic genres, blend of instruments and sounds and the importance of inter-sensory perception using visuals, theatre and music 3. Economic aspects of audience connection such as networking with business partnerships, impact of branding and marketing and the importance of distribution channels Audience reactions are central to this approach. Audiences from a variety of existing orchestral models have been researched through case studies, interviews, surveys, focus groups and participant observation. An orchestra, formed specifically for this project, performed to selected audiences and at the Brisbane Festival of Arts in 2006 and is now achieving commercialisation. The style of this orchestra is characterised by audience and performer interactivity, theatrical staging, visuals, spontaneity and less formality. Research has been conducted on this orchestral model, with contributions from the musicians, directors, producers, promoters and audiences. The research hypothesis proposes that a greater connectivity with the audience results in a more sustainable product, where sustainability is indicated by the orchestras’ ability to generate a sufficient amount of box office revenue and sponsorship. A variety of different models are considered which demonstrate orchestras that can achieve their mission of satisfying their audience, while being financial viable. The findings from the literature and the case studies clearly demonstrate the importance of many elements in the sustainability framework to achieve a greater level of audience connection with the orchestra.
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Dickson, Lesley-Ann. "Film festival and cinema audiences : a study of exhibition practice and audience reception at Glasgow Film Festival." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5693/.
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This thesis takes the view that film festivals are ‘social constructions’ and therefore need social subjects (people/audiences) to function. Nevertheless, Film Festival Studies, with its preoccupation with global economics and/or the political nature of these events, has arguably omitted the ‘audience voice’ meaning much of the empirical work on offer derives from market research by festivals themselves. As such, there is little conceptual contribution on what makes festivals culturally important to audiences or the ways in which festival practice differs from, or synergises with, broader cinematic practice. This thesis investigates exhibition practice and audience reception at Glasgow Film Festival (GFF) over three years (2011-13). The originality of the work is found in its contribution to the burgeoning field of Film Festival Studies and its methodological intervention as one of the earliest studies on film festival audiences. Using qualitative audience research methods, elite interviews and ethnography, it approaches film festival analysis through a nuanced lens. Furthermore, the positioning of the research within the interdisciplinary landscape of Film Festival Studies, Film Studies and Cultural Studies offers a broad context for understanding the appeal of ‘audience film festivals’ and the exhibition practices that exist within this often neglected type of film festival. The thesis argues that Glasgow Film Festival continuously negotiates its position as an event that is both populist and distinct, and local and international. Through its diverse programme (mainstream and experimental films, conventional and unconventional venues) and its discursive positioning of programmed films, it manages its position as both a local and inclusive event and a prestigious festival with aspirations of international recognition. More broadly, the thesis argues that festival exhibition is a multi-layered operation that strives to create a ‘total experience’ for audiences and in this respect it differs greatly from standard cinematic exhibition. Furthermore, I propose that – despite the fact that the raison d'être of film festivals is to present films – audiences privilege the contextual conditions of the event in their experiential accounts, articulating festival experiences (pleasures and displeasures) in spatial and corporeal terms. As such, the thesis serves to problematise Film Studies’ conventions of immersion and disembodiment by proposing that film festivals are predominantly sites of heightened participation, active spectatorship, and spatial and embodied pleasure.
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Bezuidenhout, Sonja. "Evaluating audience responses to promotional messages." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/d1020280.
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This study explored the guidelines advocated by selected media content analysis with the aim of identifying effective approaches to evaluate audience responses to promotional messages. Drawing from literature and documented deliberations by industry professionals, content-specific analysis protocols were applied and tested using a case study representing topic-specific responses to the Two Oceans Quay 5 product launch. In doing so, a logical observation of the communication in unpaid media placements and relevant discussions distributed in public media channels was completed. It is in this sense that this research enriches the study of public relations with a particular focus on output-driven evaluation. It provides insights into qualitative and quantitative publicity measurement and suggests how these methods can be useful to explicate the impact of media coverage as a public relations element. While it largely focused on discovering improved media content analysis solutions, this study revealed that content-driven analysis can only be useful when its protocols are aligned with the context of the data and if communication practitioners remain aware and transparent of its subjectivity. In this regard, this study helps to generate an understanding of the subjective dynamic of public relations and the importance of in-depth and adaptable publicity assessments to help distinguish public relations as a purposeful branding function next to advertising and marketing.
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Berard, Carlota. "The audience experience : interpreting mystifying performance." Thesis, University of Exeter, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501224.
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I have undertaken former studies and practice as a visual artist, in creation (poi sis), creative expression (expression creatrice) and expressive art therapy (art therapie expressive). My previous research on the multi-disciplinary performance, of Sergei Diaghilev's ballet. Petrushka that represents one example of the Russian Commedia dell'Arte masked tradition, awoke an interest in creating a form of performance art that aimed to mystify the audience by diverse forms of concealment or masking during the performance. This thesis is concerned with the audience experience of interpreting mystifying performance art. My research will be approached by applying the Gadamerian practical philosophy of hermeneutics i.e. interpretation through a dialogue or conversation, which involves question and answer, in order to achieve an understanding. I will conclude with the idea that understanding, in hermeneutical terms and as a result of an interpretation, seems to appear not definitive. The implication of this idea questions if there is such thing as understanding a mystifying performance art?
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Bosley, Cicely. "THE ECONOMICS OF A YOUNG AUDIENCE." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3644.
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As a theatre for young audiences (TYA) teacher, artist, and administrator, I seek to explore where and how TYA fits into business and economic models to open a dialogue between TYA practitioners and business administration professionals. Through this qualitative study, I endeavor to foster a new language for TYA practitioners to enhance fundraising and audience development. By its own definition, TYA is a hybrid field that strives for both artistic form and educative function. With a dual focus of form and function, administrators struggle to advocate for TYA organizations within existing models. To move through this challenge, I look to analyze select extant models in an effort to address a new hybrid model that better suits a hybrid field. This project arises from the persistent challenges found within the TYA field of defining and valuing our work for and with young people, so I approach this research as a TYA practitioner seeking tools for advocacy. Through my work as a teacher and artist moving into a business office, I observed marketing and development directors from the non-TYA fields challenged by the nature of our work. Paralleling that challenge, I struggle to articulate the necessity of my work with young people as equal to the importance of artistic excellence. My research leads me to believe that TYA does not neatly affix to any business model, but an analysis and marriage of several models may create a working model which TYA practitioners can employ.M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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BAFFA, AUGUSTO CESAR ESPINDOLA. "STORYTELLING BASED ON AUDIENCE SOCIAL INTERACTION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25300@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Ao contar uma história, o narrador usa toda sua habilidade para entreter a audiência. Esta tarefa não define apenas o ato de contar uma história, mas também a capacidade de compreender as reações do público durante a narração da história. Não é muito difícil adaptar uma história para um único individuo baseando-se em suas preferências e escolhas anteriores, porém, a tarefa de escolher o que é melhor para um grupo torna-se bastante complicada. A seleção por votação de uma maioria pode não ser eficiente pois descarta alternativas que foram consideradas secundárias por alguns indivíduos, mas que funcionariam melhor para o grupo em questão. Desta forma, a seleção descuidada dos eventos em uma história poderia causar a ruptura do grupo, fazendo com que algumas pessoas desistam de continuar assistindo pois não foram agradadas. Esta tese propõe uma metodologia para criar histórias adaptadas para a audiência com base em traços de personalidade e preferências de cada indivíduo. Como uma audiência pode ser composta de indivíduos com preferências semelhantes ou mistas, é necessário considerar uma solução de meio-termo com base nas opções individuais. Além disso, os indivíduos podem ter algum tipo de relação com os outros que influenciam suas decisões. O modelo proposto aborda todas as etapas da missão de agradar ao público. Deve inferir quais são as preferências, calcular a recompensa das cenas para todos os indivíduos, estimar as escolhas de forma independente e em grupo, e permitir sistemas de Storytelling Interativos encontrar a história que maximiza a recompensa esperada da audiência. O modelo proposto pode ser facilmente estendido a outras áreas que envolvem usuários interagindo com ambientes digitais.
To tell a story, the storyteller uses all his/her skills to entertain an audience. This task not only relies on the act of telling a story, but also on the ability to understand reactions of the audience during the telling of the story. It is not so difficult to adapt a story for a single individual based on his/her preferences and previous choices. However, the task of choosing what is best for a group becomes quite complicated. The selection by majority voting cannot be effective because it can discard alternatives that are secondary for some individuals, but that would work better for the group in question. Thus, the careless selection of events in a story could cause audience splitting, causing some people to give up keep watching because they were not pleased. This thesis proposes a new methodology to create tailored stories for an audience based on personality traits and preferences of each individual. As an audience may be composed of individuals with similar or mixed preferences, it is necessary to consider a middle ground solution based on the individual options. In addition, individuals may have some kind of relationship with others who influence their decisions. The proposed model addresses all steps in the quest to please the audience. It infers what the preferences are, computes the scenes reward for all individuals, estimates their choices independently and in group, and allows Interactive Storytelling systems to find the story that maximizes the expected audience reward. The proposed model can easily be extended to other areas that involve users interacting with digital environments.
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Maelen, Kjell Magne. "Arts centres as audience relationship managers." Thesis, University of Warwick, 2008. http://wrap.warwick.ac.uk/2345/.
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This thesis examines the extent to which such cultural policy instruments as arts centres in Britain and Norway are recognising and accommodating the cultural policy goal of widening audience access and developing new audiences. After establishing what the cultural policy is that arts centres in Britain and Norway are supposed to deliver against (Chapter 1). 1 continue to sketch out the history of the arts centres concept in the two countries, and to form an idea of what an arts centre is that aims to transcend national borders and work as a basis for determining how cultural policies in Britain and Norway have impacted on the role arts centres have as cultural policy instruments (Chapter 2). Before taking a closer look at two specific arts centres in Britain and Norway. I examine how audience relationships are managed in the arts in general by first mapping how the arts marketing concept has evolved and then how an engagement with marketing in the arts has led to the development of the concept of audience development which seems to be specific to this industry especially in Anglo-American cultural policy debate (Chapter 3). Scrutinising the audience development concept I discover that in Britain there seems to be very little agreement over what it really means; and with respect to Norway, the concept has hardly yet started to influence discussion over audience relations. I discuss some key concepts - commodification, managerialism or governance in the form of new public management - and their impacts on how arts organisations are expected to relate to their audiences under current public management ideas and conclude that audience development simply is arts marketing upgraded; and a term concocted to serve political objectives - i. e. a term that encompasses both the instrumentality of recent public policies and the ideas of cultural policies of the post World War II era of democratisation of cultural policies and cultural democracy. To investigate whether arts centres are accommodating such cultural policy objectives I conduct case studies of two arts centres in Britain (Colchester Arts Centre. Essex) and Norway (Ibsenhuset, Telemark). I conclude from my findings that the influences of " the relevance to their communities; and " their own objectives in supporting the realisation of their mission as arts organisations seem to carry more weight than the expressed performance propositions of governmental cultural policy agencies(Chapter 4). However, I also conclude that the management style employed internally and in relations with community partners influence an arts centre's ability to address the needs of its audiences. Hence I close this thesis by conceptualising a broad audience relationship management model which has the capacity to maximise the contribution to artistic value which arts centres are so well positioned to make (Chapter 5).
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Wolfe, Catherine Ann. "The audience of Old English literature." Thesis, University of Cambridge, 1994. https://www.repository.cam.ac.uk/handle/1810/270452.
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Mojica, Rosalina Orocu. "Children: The Daily Newspapers' Forgotten Audience." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/292246.
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XIAO, DAXIN. "Enhancing audience experience on Live music." Thesis, Uppsala universitet, Människa-datorinteraktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-362615.
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Increasingly, people attend live music event for diversified experiences that they could not have from listening to music at home or watching a broadcast on TV. Some seek to interact with their idol on site; others enjoy the collective action with audience members who share with them the same music preference. Enhancing audience experiences on live events, therefore, gains popularity. Research focus on crowd behaviors and the possibility of how implementing new technologies into this area. However, few studies have investigated have investigated the impact of individual promotion in the crowds by offering them a particular moment enabling them to feel more connected to the event. To deeply understand requirements from different stakeholders, audiences, and performers, a participatory workshop was conducted through which they acted as co-creators in the development process. Additionally, three qualitative evaluations were carried out to collect feedback on how the design system “HeartBeat” could enhance the audience’s experience. The research found that promoting individual impact and collective action are not conflicting with each other. Instead, they complement one another throughout the live session. “HeartBeat” is not only a design prototype that aims to increase audience experience but also a starting point for future design explorations in live music settings.
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Godinho, José Carlos David Nunes. "Audience-listening and audience-performing : a study of the effect of context on mental representation of music." Thesis, UCL Institute of Education (IOE), 2000. http://eprints.ioe.ac.uk/19236/.
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This study is concerned with the effects of the context of musical experiences on the mental representation of music. The analysis is focused on the context of listening to recorded music in the classroom, with particular regard to strategies of listening through participation. Playing rhythms along with recorded music within an instrumental group (Audience-Performing) is therefore the main context of analysis, being developed in comparison to the context of listening in silence (Audience-Listening). Everyday situations give evidence of the power of context on the ways individuals think and mentally represent music. This acknowledgement of the contextual dependency of the mind and the apparent contextual weakness of audience-listening function as the background for the elaboration of the hypothesis that playing along with recorded music may enrich the learning context and affect mental representation in positive ways. The supporting theoretical framework is built in the light of connectionism. This theory from cognitive science allows a conception of mental schemata that preserve the links between object and context, and, thus, the meaningful mental coexistence of diverse types of information distributed through the brain. The contextual complexity of Audience-Performing is, in this sense, theoretically reinforced as an ecological enrichment with positive effects on both the acquisition and organisation of mental representation. The thesis is validated through an experiment, which compares a control condition of 125 children listening to a recorded piece of music with an experimental condition of 125 children playing rhythms along with the same recorded musical piece. After the treatment, both groups were tested on the identification of excerpts from the musical piece. As shown by the results of at-test used to compare the score means of both groups, the experimental group identified more excerpts with statistical significance. A second experiment replicated the findings and helped to support the argument that the context of playing along with recorded music in the classroom has a high probability of positively affecting mental representation of music.
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Tagrit, Lamia. "Audience 2.0? Case Study: Implications of the New Audience Shift in International College Students’ Social Media Usage." Thesis, Karlstads universitet, Institutionen för geografi, medier och kommunikation, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-35405.
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Kitzinger, Jenny. "Audience understandings of media messages about child sexual abuse : an exploration of audience reception and media influence." Thesis, University of Glasgow, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298709.
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Lee, Sang Won. "Audience participation using mobile phones as musical instruments." Thesis, Georgia Institute of Technology, 2012. http://hdl.handle.net/1853/44749.
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This research aims at a music piece for audience participation using mobile phones as musical instruments in a music concert setting. Inspired by the ubiquity of smart phones, I attempted to accomplish audience engagement in a music performance by crafting an accessible musical instrument with which audience can be a part of the performance. The research begins by reviewing the related works in two areas, mobile music and audience participation at music performances, builds a charted map of the areas and its intersection to seek an innovation, and defines requisites for a successful audience participation where audience can participate in music making as musicians with their mobile phones. To make accessible audience participation, the concept of a networked multi-user instrument is applied for the system. With the lessons learnt, I developed echobo, a mobile musical instrument application for iOS devices (iPhone, iPad and iPod Touch). With this system, audience can download the app at the concert, play the instrument instantly, interact with other audience members, and contribute to the music by sound generated from their mobile phones. A music piece for echobo and a clarinet was presented in a series of performances and the application was found to work reliably and accomplish audience engagement. The post-survey results indicate that the system was accessible, and helped the audience to connect to the music and other musicians.
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Tuunanen, Tuure. "Requirements elicitation for wide audience end-users /." Helsinki : Helsinki School of Economics, 2005. http://aleph.unisg.ch/hsgscan/hm00138756.pdf.
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Falck, Joanna Grace. "Graceful penetration, Judith Thompson and her audience." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq21130.pdf.
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Amiri, Asgari J. N. "Automatic face recognition for television audience monitoring." Thesis, Brunel University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363285.
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Gardiner, C. E. "The West End theatre audience 1981-1986." Thesis, City University London, 1988. http://openaccess.city.ac.uk/8346/.
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This study gives an account of audience research undertaken between 1981 and 1986 at a sample of London theatres, and covering a wide range of productions, with the aim of establishing a profile of the West End theatre audience. Prior to this research, audience surveys in the U.K. had take place primarily outside London, or had been limited to one or two theatres. The study details the development of a research methodology for use in a large scale audience research project covering a variety of venues. The process by which techniques for audience sampling, questionnaire design and layout, survey method, and analysis of results were decided on is documented. The process by which an aggregated analysis of the West End audience as a whole was prepared from the sampled research findings is also described. Analysis of the survey findings begins with an examination of the effects of three variables on audience profiles; time of year, day of the week and type of production. An account is then given of the West End theatre audience overall. Demographic profiles, theatre-going behaviour, press and publicity use, and attractions and deterrents of London theatres are documented and analysed for the audience overall. Variations in the fore-going aspects of audience profiles and behaviour are also documented and analysed for each of the major demographic groups. As a preliminary to a proposed future study on the economic impact of the West End theatres on the local economy, an account is given of audience spending and of its value to local businesses. The results of the study indicate that theatre-going behaviour may be largely determined by social factors, and that the research therefore has a predictive value. The implications of this finding for marketing the theatre and for cultural policy-making are examined in the conclusions.
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Ciesko, Martin. "Menander and the expectations of his audience." Thesis, University of Oxford, 2004. http://ora.ox.ac.uk/objects/uuid:ae81b7d0-87da-4e3e-bd00-3b49743a82c1.
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Fiktion der Handlung? This highly conventional genre can, I claim, through both embracing and problematising its very conventionality express itself with irony and subtlety that is at least as effective as open self-praise by poets in comic genres that allow it.
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Van, Troyer Akito. "Hyperaudience : designing performance systems for audience inclusion." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/77817.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2012.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 154-168).
We define the concept of the Hyperaudience and a unique approach towards designing real-time interactive performance systems: the design of these systems encourages audience participation and augments the experience of audience members through interconnected networks. In doing so, it embraces concepts found in ubiquitous computing, affective computing, interactive arts, music, theatrical tradition, and pervasive gaming. In addition, five new systems are demonstrated to develop a framework for thinking about audience participation and orchestrating social co-presence in and beyond the performance space. Finally, the principles and challenges that shaped the design of these five systems are defined by measuring, comparing, and evaluating their expressiveness and communicability.
by Akito Van Troyer.
S.M.
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McCarthy, Leon. "Steering audience engagement during audio-visual performance." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/31605/.
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The aim of this research was to establish a new style of AV performance that facilitated me in knowingly steering audience engagement. My interest in steering engagement stems from the intent I have with my performances; an intent to encourage audiences into considered thought about the topics I bring to my shows. As practice-based research, a series of performances formed its basis, with each adapted toward establishing a new style. I introduced audience conversations to my performances, doing so in real-time by harnessing the audience's second-screens. In this way, their smartphones facilitated spontaneous collaboration between the audience and I; in turn this gave me a way to steer them toward thinking about the themes behind my performances. By then bringing this style of performance to the context of live debate, a new paradigm emerged; one that challenges the audience to participate in shaping the emergent audio-visual event. I had to develop the capacity to monitor audience engagement, first online with the `video-cued commentary' and then in real-time via two different `audience-commentary systems'. This may be of interest to anyone engaging in forms of audience analysis or viewer studies. How I developed second-screen systems may be of interest to designers of phone-network-based social-media commentary platforms. My effort toward simplifying how I generated audio-visual content and how I controlled it on-stage may make this research of interest to other digital-media performers and installation-designers.
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Blázquez, José M. "Participatory worlds : audience participation in fictional worlds." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/53599/.
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Consumer participation in the production of information, knowledge and culture has become increasingly popular in the last three decades. Although these participatory practices have been successfully incorporated into business models in many sectors, media and entertainment industries are still quite reluctant to invite audiences to create canonical content for their storyworlds. Media conglomerates hold a firm grip over their intellectual property and only allow selected parties to participate in the production of official content for their franchises. In contrast, participatory worlds are fictional worlds which allow audiences to contribute with canonical additions to their expansion. In participatory worlds, audience members are welcome to contribute to the content production chain and/or decision-making processes, having the chance to become contributors and co-authors of the texts. This thesis critically examines participatory worlds with the aim of understanding what they are and how they operate within the industrial context. This research introduces two models of participatory worlds, the ‘sandpit’ and ‘spin-off’ models, based on the location and medium where audience participation takes place, primary or ancillary works, and uses one case study to illustrate each of these: the massively multiplayer online role-playing game (MMORPG) Lord of the Craft (2011- ) and Grantville Gazette (2003- ), an e-zine rooted in the 1632 Universe. These case studies are compared with commodities produced and systems employed by media conglomerates in the management and canonical expansion of their fictional worlds in order to establish similarities and differences among them and determine where participatory worlds stand in respect to the media and entertainment industries. The concept of ‘intervention’ is introduced to define the capabilities that audience members are given to contribute canonically and make an impact in a storyworld. This thesis explores the factors which determine the degree of ‘intervention’ given to participants in participatory worlds by examining two further case studies, the web drama Beckinfield (2010-2013) and the TV show Bar Karma (2011), in addition to the aforementioned. The comparison of the four case studies reveals different approaches to audience participation within these practices.
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Colino, Juan. "Audience engagement for presentations via interactive methods." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22447.
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Keeping the audience engaged when presenting a topic in a conventional setting (a class presentation or a keynote in a conference) can be challenging. Often, presenta- tions tend to be linear and non-engaging. It was my intention to research how the ex- perience can be improved by using different methods to engage the audience.In this thesis the reader will find the results of my exploration and research on how to make presentations more engaging for the audience via interactive methods.After some background information, I go through the process of developing concepts that could improve the presenting experience. I describe different contexts where peo- ple deliver presentations and research about these environments to discuss the context of the thesis. I also discuss the concept of audience engagement.After selecting one of these concepts I describe the development of a prototype that il- lustrates the concept and discuss it after a series of user testing procedures.Finally some conclusions and comments are discussed in the final part of the docu- ment.
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Chang, Shen. "Multimedia versus print in facilitating audience learning." HKBU Institutional Repository, 2010. https://repository.hkbu.edu.hk/etd_ra/1169.
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Caley, Richard James. "Planning discourse by modelling audience interpretation strategies." Thesis, University of Edinburgh, 1992. http://hdl.handle.net/1842/20361.
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One of the major problems facing designers of computer systems which are to use natural language to achieve their aims is that of finding a way to integrate all of the information which is needed to produce reasonable texts. Amongst these types of information, one of the most complex and hardest to use is knowledge of the intended audience of the text. This thesis proposes an architecture for text planning which places the text planning system's model of its intended audience at the heart of the planning system. The proposed architecture is based upon ideas from research into planning in Artificial Intelligence which are extended to cover some simple types of multi-agent planning. This planning model and the representation which supports it are first discussed informally and then presented in a fairly formal manner. Various simple types of audience model are then encoded within the model and discussed in terms of their effects on the linguistic competence of the resulting text planner. A computer system named Riple has been implemented which embodies the mechanisms discussed in this thesis.
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McCreless, Kevin. "Effective evangelistic preaching to a contemporary audience." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Geske, Elizabeth. "Audience frames elicited by televised political advertising." [Ames, Iowa : Iowa State University], 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1468083.
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Uzonyi, Gary. "Audience costs, autocratic regimes, and militarized conflict." Tallahassee, Fla. : Florida State University, 2008. http://purl.fcla.edu/fsu/lib/digcoll/undergraduate/honors-theses/341760.
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Shearing, David Richard. "Audience immersion and the experience of scenography." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/9467/.
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This study sits at the intersection of two fields of academic enquiry into performance practice: audience reception of scenography and the rise of ‘immersive’ theatre. Using my own scenographic practice as a tool, I illuminate the understanding of audience experience of scenography in environmental performance and question how scenography might act as an agent for audience immersion. I examine the nature of sensory and imaginative engagement in the context of performance installations in black-box studio spaces where audiences are central to the composition. This practice-based study is composed of two parts: the presentation and development of a series of three performance installations (VOID/ROOM, If anyone wonders why rocks breakdown, and it all comes down to this…) and this supporting written thesis. In this thesis I present an original model of audience immersion that elucidates how audiences might become entwined with the scenography of performance. My three-part model of audience immersion consists of interlinking concepts expressed as Immersion as Landscape, Immersion as Weather and Immersion as Journey. The main theoretical perspectives have been developed through my readings of Maurice Merleau-Ponty, Drew Leder and Tim Ingold. As part of my findings, I explain how ‘mindfulness/awareness’ developed through Ellen Langer, Eleanor Rosch, Evan Thompson and Francisco Varela can act as a mode of audience engagement that might afford deeper relational encounters between the participant and design material.
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Lee, Rawon. "Audience Overlap in the Arts in the United States between 1982 and 2008: A Study of the Survey of Public Participation in the Arts Data." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300986130.
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Dorling, Sebastian. "Performance in public: Young tennis players' reactions to different types audiences." Thesis, Högskolan i Halmstad, Sektionen för hälsa och samhälle (HOS), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-19160.
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The purpose of this study was to examine the effect audience types have on young tennis athlete’s performance and behaviours and to investigate how previous experiences, social relationships, and audience awareness correlate to audience effect and coping strategies. Participants (n=4) (m=11.5 years) were given 4 weeks task-motivational climate training followed by 2 match days consisting of 5 matches of varying audiences; no audience, family, others, coaches and cameras. Quantitative data was evaluated by experts. Qualitative data was obtained by post-match semi-structured interviews. Each participant displayed different reactions to audience effects. Quantitative results were not generalizable but were used in interviews to stimulate participants. General themes of audience types were found; cameras resulted in physical appearance awareness, coaches resulted in mistake avoidance, and no audience resulted in lower concentration levels. Playing tennis helped develop coping strategies for performance in public, where further training by stimulation of various audience types was highlighted. These results support previous theoretical frameworks but highlight a need of further emphasis on audiences. A Multi-dimensional Model of Audience Effect in Athletic Performance was proposed. Training in front of varying audience types should be implemented in tennis training, and further research into different sports is needed.