Academic literature on the topic 'Theatre for all audiences'
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Journal articles on the topic "Theatre for all audiences"
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Zehra, Shamail, Kiran Karamat, and Niza Qureshi. "THEATRE IN THE DIGITAL AGE: CHALLENGES AND AUDIENCE VIEWING EXPERIENCES." Pakistan Journal of Social Research 05, no. 01 (March 4, 2023): 609–16. http://dx.doi.org/10.52567/pjsr.v5i01.1384.
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A digital native audience may find it more difficult to be captivated by a theatrical performance in the age of technology, yet theater has evolved and survived every technological advancement. The popularity of the plays in Shakespeare's day appears to have been largely dependent on audience behavior, much as it was in the times of Aristophanes and Plautus. In our local Pakistani context, the study investigates whether theater can survive in the present digital media landscape and addresses the key elements that can affect a viewer's decision to see theater in a live setting. A good play, production, and performance are evaluated by audiences who are highly "theatre-literate. Despite the latest developments in technology, there are audiences who are essentially motivated by human interaction and insight, who yearn for the live experience, who appreciate being live in the room with the entertainer and that audience is the reason for the survival of theatre in a digital age. A survey method is utilized to collect data from 200 theater-savvy audiences in order to glean the most pertinent information and enhance the analysis of the information gathered. The results will demonstrate that regular theatergoers choose to attend theater live rather than for free online in order to experience a sense of relationship with the performers and other audience members. The majority of theatergoers said that attending live theater in an era of digital technology was still very much worthwhile. Because theater is a global cultural phenomenon that exists in all societies, the study is important on both a national and international level. Keywords: Theatre, Digital culture, Technology, Audience, Liveness, Brecht Theatre.
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Pukelytė, Ina. "Front Theatre and Variety Theatre in Lithuania During World War II." Art History & Criticism 16, no. 1 (December 1, 2020): 95–104. http://dx.doi.org/10.2478/mik-2020-0006.
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SummaryThis article reveals how theatre on small stages functioned in Lithuania during World War II and what was its impact on different audiences. It discusses two topics: 1) specificities of the front theatre intended for German soldiers and their administration; 2) specificities of variety theatre intended to all kinds of audiences. Front theatres in the Third Reich were a well-structured and well-financed organisation that served not only German soldiers and army officials but was an attractive job place for artists. Shows were given in all the occupied territories and thus the morale of the German army was supposed to be maintained. Variety theatres, that is small stage performances, were dedicated to lower class audiences; these shows demanded no intellectual effort and were meant to entertain. Journalists, writing about this type of theatre, avoided to criticise it, because it nevertheless fulfilled its duty to stimulate citizens’ optimism and to make them more loyal to the Nazi government.
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Caldwell, Niall, and Kathryn Nicholson. "Star quality: celebrity casting in London West End theatres." Arts Marketing: An International Journal 4, no. 1/2 (September 30, 2014): 136–55. http://dx.doi.org/10.1108/am-10-2013-0022.
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Purpose – The purpose of this paper is to investigate the practice of casting celebrity performers in London West End theatres. The paper uses the literature on celebrity to explore the impact that casting a celebrity has on the London theatre audience. Design/methodology/approach – The pervasiveness of celebrity culture forms the background and starting point for this research. In the first phase, theatre managers, directors and producers were interviewed to explore their views on the practice of celebrity casting. In the second phase, an audience survey was conducted. The approach taken is exploratory and is intended to illuminate the conditions under which a successful celebrity-focused strategy can be constructed. Findings – A distinction between fame and celebrity was drawn by both theatre professionals and audiences, with celebrity status being seen as something that is created by media exposure and being in the public eye. This is in contrast to fame, which is earned by being famous for something, or some achievement. Theatre audiences are more likely to be attracted by celebrities who have theatrical expertise and not by someone known simply through film, television or the all-pervasive gossip columns. Celebrities with a background in theatre and film were seen to strongly draw audiences to the theatre, as opposed to those with a background in reality TV shows, search-for-a-star shows or for being half of a famous couple. Originality/value – The paper is focused on the theatre and makes an original contribution to the current discussion of the power wielded by celebrities. It is the first empirical research on this aspect of the theatre business. Its contribution lies in understanding audience members’ interpretation and understanding of celebrity to ascertain the extent to which they perceive celebrities as credible to perform theatre. This is based on a differentiation between their mediated fame and expertise. It is helpful and useful information for producers when deciding whether or not to cast a celebrity and to which audiences that the celebrity might appeal.
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Bennett, Susan. "Theatre Audiences, Redux." Theatre Survey 47, no. 2 (September 12, 2006): 225–30. http://dx.doi.org/10.1017/s0040557406000196.
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In retrospect, that Roland Barthes's insistence on “the death of the author” should have provoked an emergent interest in theatre audiences is hardly surprising. As, in literary studies, this brought about a new privilege for and investment in the reader, so too, in theatre and performance studies, there was an explicit recognition that what went on in the theatre was qualitatively and quantitatively more complicated and more exciting than the study of the playtext in the classroom. At the same time, the move to challenge a universalized (and thus male) viewing subject created new readings of the audience and new understandings of both individual and collective spectatorship across a range of subjectivities. So, Jill Dolan could argue that the “feminist spectator viewing such a representation is necessarily in the outsider's critical position.” Dolan continued:She cannot find a comfortable way into the representation, since she finds herself, as a woman (and even more so, as a member of the working class, a lesbian, or a woman of color), excluded from its address. She sees in the performance frame representatives of her gender class with whom she might identify—if women are represented at all—acting passively before the specter of male authority.1
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Harvey, Dustin. "Theatre for Small Audiences." Canadian Theatre Review 126 (March 2006): 45–47. http://dx.doi.org/10.3138/ctr.126.008.
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I am standing inside a beat-up camping trailer from the 1950s. This morning, the unit was towed to a secret location on Gottingen Street in Halifax. The interior of the trailer has been modified at one end, with a seating rake, consisting of two short rows that will accommodate a total of eight people. The section takes up nearly half the space. It is where the audience will sit for the first and only performance of Cowboy Show — the second production in the Theatre for Small Audiences series. The floor is littered with peanut shells. I am outfitting the rear wall with an American fag, when a young actress pokes her head in and abruptly and asks, “Is this the secret play?”I tell her it is. “1 won’t be able to make it,”she says. “When will you be putting it on again?”She doesn’t believe me when 1 tell her that it is one night only. What do you mean, she insists. Only eight people will ever get to see it?”The reaction is a familiar one. Finally, she muses, sighs and concludes, “All that work, all for nothing.
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Bird, Kym, and Ed Nyman. "Quipping Against the Pricks: Comedy, Community and Popular Theatre." Canadian Theatre Review 77 (December 1993): 8–12. http://dx.doi.org/10.3138/ctr.77.002.
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The Company of Sirens and the Workman Theatre Project are only two of the many members of the Canadian Popular Theatre Alliance who are using theatre, as Brecht did, to change political and social consciousness while entertaining audiences. Liberal humanist notions of “art” (of greatness, genius, the masterpiece) have caused many to denigrate popular theatre for its political agenda, as though other theatres can be free from the political and ideological conditions under which they are produced. Most popular theatre workers, however, accept that all cultural labour is ideologically committed and yet must live with the threat of alienating sponsors and audiences and with the challenge of working out a vision with artistic integrity.
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Mahoney, Alison M. "Oily Cart's Space to Be: Exploring the Carer's Role in Sensory Theatre for Neurodiverse Audiences during COVID-19." Theatre Survey 62, no. 3 (August 23, 2021): 340–43. http://dx.doi.org/10.1017/s0040557421000260.
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Because sensory theatre productions are designed with neurodiverse audiences in mind, practitioners are first and foremost concerned with accessibility at all levels for their audience members, incorporating multiple senses throughout a performance to allow a variety of entry points for audiences that may have wildly divergent—and often competing—access needs. One-to-one interaction between performers and audience members results in highly flexible performances that respond to physical and auditory input from individual audience members, through which performers curate customized multisensory experiences that communicate the production's theatrical world to its audience. Given this reliance on close-up interaction, the circumstances surrounding the COVID-19 pandemic have posed a particular challenge for sensory theatre makers. In in-person sensory theatre, performers focus on neurodivergent audience members, with parents and paid carers often taking a (literal) back seat, but remotely delivered sensory theatre during COVID-19 hinges on the carer's facilitation of sensory engagement curated by sensory theatre practitioners. Oily Cart, a pioneering London-based sensory theatre company, responded to COVID-19 restrictions with a season of work presented in various formats in audiences’ homes, and their production Space to Be marked a shift in the company's audience engagement to include an emphasis on the carer's experience.1 Using this production as a case study, I argue that the pivotal role adopted by carers during the pandemic has the potential to shape future in-person productions, moving practitioners toward a more holistic, neurodiverse audience experience that challenges a disabled–nondisabled binary by embracing carers’ experiences alongside those of neurodivergent audience members.2
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Bannerman, Marian White. "TYA in Canada: Navigating the Paradoxes." Canadian Theatre Review 133 (March 2008): 53–61. http://dx.doi.org/10.3138/ctr.133.008.
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In Donald Barthelme’s hilarious and provocative short story, “Me and Miss Mandible,” a thirty-five-year-old man who has “misread” important cultural signs as an adult finds himself back in grade six, for re-education. This time around, it is clear, he must learn to read the subtext, the messages implied, as opposed to those overtly stated, by his culture. Remembering a surreal but formative experience, the protagonist takes an important first step in this complex decoding: “I kept wondering why. Then something happened that proposed a new question…. I wondered: Who decides?” (60). In many ways, these two questions — Why? Who decides? — are key to understanding the unique culture of Theatre for Young Audiences (TYA) in Canada. Young theatre audiences, in turn, may be key to an accurate picture of the country itself. As Leslee Silverman, artistic director of Manitoba Theatre for Young People, points out, young audiences have replaced adult audiences as the true cross-section of Canada (Personal interview). Because it tours to all parts of the country, plays to young people and their caregivers and is primarily performed in and for schools whose students are drawn from a wide range of economic, social, geographic, linguistic, religious, ethnic, intellectual, physical and family backgrounds, TYA boasts not only one of the largest but also the most diverse and representative audience in the country. This audience is important. But why is theatre important for this audience?
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McClelland, Graeme. "When in Quarantine: Bringing Theatre Home with Boca del Lupo." Canadian Theatre Review 191 (August 1, 2022): 100–102. http://dx.doi.org/10.3138/ctr.191.016.
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Sherry J. Yoon and Jay Dodge of Vancouver’s Boca del Lupo Theatre sit down to discuss the process and creation of Plays2Perform@Home, an anthology of plays that won the 2021 Canadian Association for Theatre Research Patrick O’Neill Award. In a separate interview, one of the contributing playwrights, Santiago Guzmán, discusses his play Mona, Lisa and reflects on how his artistic practice has shifted and grown through the pandemic. All three artists meditate on what it has meant to create theatre during the pandemic and offer hopes and projections on the future of performance as audiences begin returning to theatres.
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DUTT, BISHNUPRIYA. "Introduction." Theatre Research International 42, no. 3 (October 2017): 323–26. http://dx.doi.org/10.1017/s030788331700061x.
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These three essays on distinct research areas and case studies cover a broad history of educational institutions in India, their focus on theatre and cultural education, and their role in creating citizens active in the public sphere and civic communities. The common point of reference for all the three essays is the historical transition from pre- to post-independence India, and they represent three dominant genres of Indian theatre practice: the amateur progressive theatre emerging out of sociopolitical movements; the State Drama School, which has remained at the core of the state's policy and vision of a national theatre; and college theatre, which comprises the field from which the National School of Drama sources its acting students, as well as new audiences for urban theatres.
Dissertations / Theses on the topic "Theatre for all audiences"
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Taylor, Crispin. "‘It’s All in The Timing’ – A Research Project that explores the complexities in the relationship of Actor to Audience, in Musical Theatre." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2434.
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This research project is interested in the communicative transaction that occurs between actor and audience, in theatrical performance, and how this relationship can differ within nonmusical, and musical theatre. In non-musical theatre, for example, there can be a very intimate and immediate “dialogue” between actor and audience, that can alter each moment of a performance, making possible a unique co-creation between the two entities. In this way, no two performances are ever alike, the actor “reads” the audience and adjusts their performance according to specific responses from them. This communion allows a flexible elasticity in the outcome, and the actor, in this case, can have absolute control of the timing.
In musical theatre, however, control of timing can be taken out of the hands of the actor, the integrity of the transaction between them and the audience can be compromised, and therefore the performance can lose its potential for uniqueness and originality. Music itself, with its inherent structure, rhythm and tempi can dictate the flow of many elements during a musical theatre performance often compromising, or even disallowing flexibility or any sense of improvisation for the performer/s. This makes the musical theatre performer’s task - that of, creating a seemingly spontaneous and organic performance, guided by each audience’s unique contribution, marrying at least three disciplines of acting, singing, and dance - a much more challenging task.
The project has investigated the ways in which the musical theatre performer, the actor/singer/dancer negotiates these hurdles, as compared to the actor in non-musical theatre. How does this performer navigate the requirements of each discipline to create a performance with the same sense of integrity as the non-musical performer? How too, can one create a production of a musical that enables the same sense of audience investment as in a nonmusical production? Finally, how can we train our musical theatre students to have a greater understanding of the actor-audience relationship, particularly given the limitation of the number of actual performances for each production?
The cornerstone of my “Practise as Research” was a production used as a vehicle to explore and exercise my findings. At the Western Australian Academy of Performing Arts (WAAPA), with the assistance of nine 2nd Year Music Theatre students, I reimagined a production of David King and Nick Enright’s musical Mary Bryant. An audio/visual recording of one of the performances is included as part of this thesis.
I directed the original professional production of Mary Bryant at Sydney’s Ensemble Theatre in 1998. Although favorably reviewed and a financial success, I was at the time, unsatisfied with the results, particularly with concern to the performer to audience interaction. This new production therefore tested and demonstrated ways of improving and responding to these shortcomings through original and unique processes, bringing about some expected but also unexpected results. The findings will be of interest to directors of musical and non-musical theatre, and to teachers of musical theatre, particularly those teaching the acting component.
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Wijesiri, Narayana Don Nimal Wijesiri. "Representation of identity in Sinhala theater: The impact of the religious/charity model." Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/235387/1/Nimal%2BWijesiri%2BThesis%2B%282%29.pdf.
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This study used a critical disability studies analysis of historical and contemporary theatre work, informed by interviews with theatre practitioners and spectators to understand how disability, ethnic, racial, gender, and sexual identity is being representing in Sinhala theatre in Sri Lanka. The thesis explored how theatre practitioners and audiences want to see identity representations evolve in future, to create change in Sri Lankan society.
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Trabelsi, Rabeb. "Spatialité, scénographie et imagination créatrice dans quatre créations tout-public de Joël Pommerat : Le Petit Chaperon rouge, Pinocchio, Cendrillon et Contes et Légendes." Electronic Thesis or Diss., CY Cergy Paris Université, 2024. http://www.theses.fr/2024CYUN1287.
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Cette recherche a pour but l'étude du processus de création de Joël Pommerat dans quatre créations « tout-public » à savoir Le Petit Chaperon rouge, Pinocchio, Cendrillon etContes et Légendes et la place de la scénographie dans l'œuvre de Joël Pommerat. Comment cet artiste revisite-t-il les contes de fée afin de donner de nouvelles interprétations à ces textes anciens à travers le théâtre ? Quels éléments nouveaux apparaissent dans Contes et Légendes ? De quel manière le metteur en scène permet-il au spectateur d'avoir un regard nouveau sur la société actuelle en traitant des sujets de notre quotidien ? Les éléments scénographiques dans l'œuvre de cet artiste jouent un rôle primordial dans l'originalité de ses créations à travers l'élaboration d'espaces scéniques à la fois féeriques, fictionnels et même futuristes. La scénographie représente une passerelle ou un pont amenant cette « métamorphose » de la tradition à l'actualité (dans les trois adaptations théâtrales de contes) et de l'actualité au futur proche (dans Contes et Légendes). Notre artiste déploie alors son imagination créatrice à travers une approche singulière et contemporaine. Cette recherche tente de montrer comment Pommerat exploite l'espace merveilleux du conte ou l'enquête de terrain pour créer de nouveaux espaces, tout à la fois politiques et fictionnels. Comment le conte devient-il un outil de problématisation de la crise sociétale d'aujourd'hui et une porte à de nouvelles créations de notre artiste ? À quels degrés l'esthétique cinématographique chez Pommerat participe-t-elle à la stimulation de l'imagination du spectateur ? Comment les éléments scénographiques participent-ils à la création d'un espace visuel moderne ? Quelles méthodes utilise Pommerat pour orienter la perception et la réflexion du spectateur dans ses spectacles tout-public ?This research aims to study the creative process of Joël Pommerat in four creations for all audiences, namely Little Red Riding Hoood, Pinocchio, Cenderella and Tales and Legends and the place of scenography in Joël Pommerat's work. How does this artist reinterpret fairy tales to provide new interpretations of these ancient texts through theatre ? What new elements emerge in Tales and Legends ? In what way does the director allow the spectator to have a fresh perspective on contemporary society by addressing everyday subjects ?The scenographic elements in this artist's work play a key role in the originality of his creations through the development of scenic spaces that are both magical, fictional and even futuristic. Scenography represents a gateway or bridge bringing about this "metamorphosis" from tradition to current events (in the three adaptations of tales) and from current events to the near future (in Tales end Legends).This research aims to demonstrate how Pommerat exploits the wonderful space of the tale or fieldwork to create new spaces, at once political and fictional. How does the tale become a tool for problematizing the societal crisis of today and a gateway to new creations by our artist ? At what levels does cinematographic aesthetic in Pommerat's work contribute to stimulating the spectator's imagination ? How do scenographic elements participate in the creation of a modern visual space? What methods does Pommerat employ to guide the spectators' perception and reflection in his all-age creations ?
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Asiedu, Awo Mana. "West African theatre audiences : a study of Ghanaian and Nigerian audiences of literary theatre in English." Thesis, University of Birmingham, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288805.
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This thesis examines the question of who the main audiences of West African literary theatre in English are and what they expect from literary theatre performances. Through a survey of audiences at performances in Ghana and Nigeria, it shows that the main audiences of literary theatre in English in this region of Africa are mainly students and the educated elite. The language of these plays and the main venues of performance are largely seen as responsible for this limited but important audience. The study concludes that since playwrights and their audiences see theatre as a medium for social change and edification respectively, this category of audiences are strategic targets. The study, however, sees the role of other theatre practices, such as Theatre for Development and Concert Party Theatre, which are in local languages and target the larger, less educated sections of society as more relevant but complementary to literary theatre in English. This thesis also highlights the lively interaction of West African audiences with theatre performances. Theatre practitioners encourage the active participation of their audiences by casting them in concrete roles or by directly addressing them, thus insisting on their participation.
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Hayes, S. "Building community : a sociology of theatre audiences." Thesis, University of Salford, 2006. http://usir.salford.ac.uk/2034/.
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This thesis is an ethnographic study of theatre audiences and the ways in which they experience community. It is positioned within current debates on the mediatization and globalization of society, and the ongoing discussion as to whether social change has an adverse effect on community experience. Methodologically it emphasizes the investigation of audience contexts and collaborative practices among actors and theatregoers and between researcher and respondents. Audiences’ own terminology is considered vital to understanding what community means to them. The thesis examines community experience across the whole trajectory of the theatregoing event, from theatregoers’ backgrounds, through interactions at theatre performances, to discussion outside the auditorium and in their everyday lives. It argues that while theatre audiences conform to the perception that they tend to be middle aged and predominantly female, there are modifications to Bourdieu’s findings that cultural consumption is closely related to social class gradations. In particular, mainstream theatregoers extend across the spectrum of the middle class and their tastes in theatre are eclectic. Similarly, the research finds that there are other ways than through habitus that theatregoers acquire cultural tastes and practices. A close consideration of interactions at theatre performances, and the physical contexts in which they take place, identifies features of interaction and auditoria that encourage or discourage community, and relates them to interaction in everyday life. An investigation of why theatregoers prefer live to mediatized performance, and an examination of changes in audience perception and how much they are shared with others, contribute to an assessment of the transformative power of theatre and of how far face-to-face community is perennial in society.
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Betzien, Angela Jane. "Hoods : creating political theatre for young audiences." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/19238/1/Angela_Betzien_Exegesis.pdf.
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My first exposure to Brecht and his theories was as a high school drama student. One of our year twelve assessment tasks was to write and perform our own Brechtian drama using three or more alienation techniques. I wrote a piece about Religion and Fundamentalism, an issue that I felt strongly about at the time. By carefully following my teacher’s instructions and adhering to the assessment criteria I received a VHA. I concluded from this experience that political theatre could be made by following a simple recipe and combining key ingredients. As my knowledge of theatre and my own creative practice developed I came to understand the great complexity of Brechtian theory and the extreme difficulty of creating effective political theatre, that is, theatre that changes the world. Brecht’s theories have been so thoroughly absorbed into contemporary theatre practice that we no longer identify the techniques of Epic Theatre as necessarily political, nor do we acknowledge its radical origins. I have not yet seen a professional production of a Brechtian play but I’ve absorbed on countless occasions the brilliant reinterpretations of Brecht’s theories within the work of contemporary dramatists. My approach to creating political drama is eclectic and irreverent and I’m prepared to beg borrow and steal from the cannon of political theatre and popular media to create a drama that works, a drama that is both entertaining and provocative. Hoods is an adaptation for young audiences of my original play Kingswood Kids (2001). The process of re-purposing Kingwood Kids to Hoods has been a long and complex one. The process has triggered an analysis of my own creative practice and theory, and demanded an in-depth engagement with the theories and practice of key political theatre makers, most notably Brecht and Boal and more contemporary theatre makers such as Churchill, Kane, and Zeal Theatre. The focus of my exegesis is an inquiry into how the dramatist can create a theatre of currency that challenges the dominant culture and provokes critical thinking and political engagement in young audiences. It will particularly examine Brecht’s theory of alienation and argue its continued relevance, exploring how Brechtian techniques can be applied and re-interpreted through an in-depth analysis of my two works for young people, Hoods and Children of the Black Skirt. For the purposes of this short exegesis I have narrowed the inquiry by focusing on four key areas: Transformation, Structure, Pretext, Metatext.
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Betzien, Angela Jane. "Hoods : creating political theatre for young audiences." Queensland University of Technology, 2007. http://eprints.qut.edu.au/19238/.
Full textAbstract:
My first exposure to Brecht and his theories was as a high school drama student. One of our year twelve assessment tasks was to write and perform our own Brechtian drama using three or more alienation techniques. I wrote a piece about Religion and Fundamentalism, an issue that I felt strongly about at the time. By carefully following my teacher’s instructions and adhering to the assessment criteria I received a VHA. I concluded from this experience that political theatre could be made by following a simple recipe and combining key ingredients. As my knowledge of theatre and my own creative practice developed I came to understand the great complexity of Brechtian theory and the extreme difficulty of creating effective political theatre, that is, theatre that changes the world. Brecht’s theories have been so thoroughly absorbed into contemporary theatre practice that we no longer identify the techniques of Epic Theatre as necessarily political, nor do we acknowledge its radical origins. I have not yet seen a professional production of a Brechtian play but I’ve absorbed on countless occasions the brilliant reinterpretations of Brecht’s theories within the work of contemporary dramatists. My approach to creating political drama is eclectic and irreverent and I’m prepared to beg borrow and steal from the cannon of political theatre and popular media to create a drama that works, a drama that is both entertaining and provocative. Hoods is an adaptation for young audiences of my original play Kingswood Kids (2001). The process of re-purposing Kingwood Kids to Hoods has been a long and complex one. The process has triggered an analysis of my own creative practice and theory, and demanded an in-depth engagement with the theories and practice of key political theatre makers, most notably Brecht and Boal and more contemporary theatre makers such as Churchill, Kane, and Zeal Theatre. The focus of my exegesis is an inquiry into how the dramatist can create a theatre of currency that challenges the dominant culture and provokes critical thinking and political engagement in young audiences. It will particularly examine Brecht’s theory of alienation and argue its continued relevance, exploring how Brechtian techniques can be applied and re-interpreted through an in-depth analysis of my two works for young people, Hoods and Children of the Black Skirt. For the purposes of this short exegesis I have narrowed the inquiry by focusing on four key areas: Transformation, Structure, Pretext, Metatext.
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Woods, Penelope. "Globe audiences : spectatorship and reconstruction at Shakespeare's Globe." Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8299.
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This thesis uses evidence gathered from conversations with audiences carried out before and after performances at Shakespeare’s Globe 2009-10, and contextualized through interviews with performers and creatives, archival data and critical scholarship to establish new understandings of current spectatorship at the Globe Theatre. This exploratory and inductive research into current audiences at the reconstructed Globe establishes new areas of inquiry for both current and early modern audience research. In cultural terms the position of Shakespeare's Globe is contested, it is read and used (sometimes simultaneously) by audiences as: theatre, tourist site, reconstruction and experiment. In academic terms the reconstruction is also contested, for its capacity to uncover new insights into early modern performance and reception or not. The significance of the physical conditions of performance and reception at the Globe, being a shared-lighting performance space, almost in-the-round, open-air and seasonal, are made apparent through reconstruction. These material and cultural conditions combine to produce a porous and contingent site of interaction between performer, building, weather, play and audience. These conditions alter and subvert current norms of audience passivity and quiescence today and illuminate new areas of consideration in early modern audience research. The four chapters of this thesis use four Shakespeare’s Globe productions as case studies: Chapter 1 draws on Troilus and Cressida (dir. Dunster, 2009) to consider issues of history and space for audiences; Chapter 2 considers Romeo and Juliet (dir. Dromgoole, 2009) and the place of audience work in performance; Chapter 3 takes Macbeth (dir. Bailey, 2010) to examine the production of illusion and audience affect, and Chapter 4 employs The Frontline (dir. Dunster, 2009) in a consideration of community-formation amongst audience. Themes of intimacy, hospitality, antagonism, the face-to-face encounter and laughter comprise sites of sustained critical concern with current spectatorship throughout the thesis. These areas receive some consideration in relationship to evidence of early modern spectatorship from plays and other primary sources.
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Groschel, Uwe. "Audiences and participants : researching theatre users at Contact, Manchester." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/audiences-and-participants-researching-theatre-users-at-contact-manchester(ed0dbc91-5fc5-44ea-a7c8-627691ab8e1e).html.
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When people 'go to the theatre' we know that they are audiences. When young people go to Contact, however, they might be audiences, performers and/or theatre makers - they might play all three or more roles. Contact's users blur existing concepts and terminology. When we want to know more about theatre audiences, audience research offers models based on the distinction between audiences and theatre makers. If we want to know more about Contact's users, however, a model reflecting the blending of audiences and theatre makers' roles has yet to be developed. This thesis engages with Contact's users. It maps some of their multiple roles and experiences by asking two main questions: What are the practices of the people attending Contact and how can these practices be researched? A range of qualitative methods is necessary in order to investigate the wide variety of Contact's users' roles and experiences. Individual and group interviews are drawn from audience research, creative workshops are drawn from communication studies, and participant observation and visual research from the social sciences. Finally, a new method, Walking Fieldwork, is adapted for the use in theatre. A number of case studies are employed to investigate Contact's users. These case studies involve the observation of young actors during rehearsals and performances, the observation of participants in an outreach project, the investigation of audiences' experiences of two productions, and several short post-show interviews with general Contact audiences. This study found evidence that the relationship between theatre makers and audiences is changing. The term 'theatre user' is introduced as it opens up an area of overlap between the two and fits contemporary practices at Contact more closely. Contact's users function as communities, participants and co-creators. The descriptions of these roles and experiences contained in this thesis are understood as an initial exploration into practices of contemporary theatre users. However, further research is needed to build a more detailed understanding of these practices. In terms of research methods, this study found that the academic field of audience research needs to develop methods which are sensitive to both the backgrounds of theatre users and the theatrical context. The argument is put forward that audience research should become more aware of methods for the investigation of human experience and should enter into a 'methods-dialogue' with other academic fields of study.
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Soulstein, Seth Koozel. "Macbeth as Avatar : fandom in British Romantic theatre audiences." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/41995.
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This study aims to place two previously disconnected areas of academic inquiry, Romantic theatre studies and fandom studies, in dialogue with one another, to the mutual benefit of both fields. Towards this end, I focus on a particular manifestation of fan behavior, the deployment of popular iconography and mythology as a protest strategy – a mode of fandom recently codified as “Avatar activism” by Henry Jenkins, a leading fan scholar – and look for its existence in a specific moment in time in Romantic London: the 1809 Old Price Riots. Fandom studies, as a discipline, looks at active media audiences, and the ways in which they build upon source media texts. In the first chapter, I give an overview as to the history of this relatively young branch of scholarship, which brings us to the current moment, in which Avatar activism can be considered a mode of fan behavior. Following that, I focus on the Romantic period for the remainder of the thesis. In the second chapter, I choose three various case studies of engaged audiences – Sarah Siddons as celebrity icon; hippodrama and genre fandom; and intertextuality, transmedia, and what David A. Brewer has called “imaginative expansion” - which set the stage for the idea that fan behavior was alive and well in the early nineteenth century. In the final chapter, I focus on the Old Price Riots, and the rioters’ use of Shakespeare-as-icon and Shakespearean mythology as a Romantic manifestation of Avatar activism. With this study, I aim to provide a larger historical context for modern conceptions of fandom, as well as to offer greater insight into audience/text dynamics that existed in Romantic London.
Books on the topic "Theatre for all audiences"
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Snyder-Young, Dani, and Matt Omasta. Impacting Theatre Audiences. London: Routledge, 2022. http://dx.doi.org/10.4324/9781032214146.
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Asiedu, Awo Mana. West African theatre audiences: A study of Ghanaian and Nigerian audiences of literary theatre in English. Birmingham: University of Birmingham, 2003.
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O'Toole, John, Ricci-Jane Adams, Michael Anderson, Bruce Burton, and Robyn Ewing, eds. Young Audiences, Theatre and the Cultural Conversation. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-7609-8.
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Liston, Karen. An exploratory study into the attitudes of the Dublin population to theatre. Dublin: UniversityCollege Dublin, 1990.
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Malomo, Jide. The theatre audience in Nigeria: A survey of audience attendance at the National Arts Theatre, Lagos. Ibadan, Oyo State, Nigeria: Ibadan, 2002.
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Freshwater, Helen. Theatre & audience. Houndmills, Basingstoke, Hampshire, UK: Palgrave Macmillan, 2009.
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Marisa, Smith, ed. Seattle Children's Theatre: Six plays for young audiences. Lyme, NH: Smith and Kraus, 1997.
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Bennett, Susan. Theatre audiences: A theory of production and reception. London: Routledge, 1990.
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Dieleman, Cock, Ricarda Franzen, Veronika Zangl, and Henk Danner. Dramaturgy. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463724968.
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The image of the dramaturg resembling a stuffy librarian, as opposed to the largely intuitive process of theatre making, belongs to the past. Contemporary theatre performances not only tell a story, but constantly reflect on the world in which that story takes place and is shown. As a result, dramaturgy has become part of the artistic process. Thus everybody involved in a theatre production is concerned with dramaturgical thinking, i.e. how to relate to material, process, audience and society. The dramaturg crosses borders between theory and practice, between theatre makers, performance and audience. Dramaturgy. An Introduction provides a broad overview of the concept of dramaturgy and the profession of the dramaturg. It is intended for students and teachers of theatre and performance studies, but also for directors, scenographers, actors and for all lovers of theatre.
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1933-, Jennings Coleman A., ed. Theatre for young audiences: 20 great plays for children. New York: St. Martin's Press, 1998.
Find full textBook chapters on the topic "Theatre for all audiences"
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Farmer, Paul. "5. Touring One & All!" In After the Miners’ Strike, 67–82. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0329.07.
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The first performance of One & All! is at the Crypt Centre in Truro at the end of March 1985 before a small audience of members and friends. Then we set out on tour to other community initiatives, local Labour groups, and anyone else who might arrange a show. We decide we need to carry our own theatre lighting, but the cost is prohibitive so we come to an ingenious if slightly dangerous arrangement. The show evolves. Political theatre and cabaret turn out to work well in Cornwall–you can say anything you liked as long as you are entertaining. An important part of A39 is its ‘hinterland’, its links to groups outside theatre. Initially this is composed of socialist and community groups, but it comes increasingly to include the Cornish cultural movement, a celebration and defence of communities, of the Cornish people’s relationships with work and with their part of the planet. These are too the causes for which the Miners’ Strike has been fought, so our commitment to this movement continues the struggle for which A39 was formed. A report for the ‘Regional Arts Association’, South West Arts (SWA), that functions as an agency of the Arts Council, dismisses A39’s work, and A39 is never to form a working relationship with SWA. Instead we participate in the Enterprise Allowance Scheme that will give us each an income and A39 prepares to go–international!
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Farmer, Paul. "3. One & All!" In After the Miners’ Strike, 37–60. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0329.05.
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The conditions of Thatcher’s 1980s exposes those on the Left to government attack. The miners, organised in the National Union of Mineworkers with Arthur Scargill as President, are perceived by Thatcher’s cabal as a primary enemy to be destroyed. The strike provoked by the government exposes divisions and hypocrisy in the UK Labour Movement. Nevertheless, the miners’ struggle constitutes a defence of communities and ways of life and there is huge support for them among socialists and large sections of the general public. To participate in this support is what our work is for. The aim is ‘efficacy’, an effect on the world beyond the theatre. Now we have to find our audience, amongst whom we could assume no prior knowledge of the social event of theatre. Our work will be for Cornish communities and will also be a working-class voice. Hard rock metal mining is a part of Cornwall—a fundamental aspect of how the Cornish see themselves. We will create a show to support the Miners’ Strike through the story of Cornish mining, in a form we call ‘cabaret documentary’. A39 will be a permanent research process. Part of the experiment is to find what we are as performers. We write and start rehearsing One & All! in the Crypt Unemployed and Community Centre in early 1985.
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Pickering, Kenneth, and Mark Woolgar. "Audiences and Spectators." In Theatre Studies, 152–73. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-349-92330-4_10.
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Webb, Tim. "Sensory Theatre Audiences." In Sensory Theatre, 53–58. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003091288-12.
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Werner, Sarah. "Audiences." In Shakespeare and the Making of Theatre, 165–79. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-1-137-28493-8_10.
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Macleod, Joseph. "Special Audiences." In The New Soviet Theatre, 64–84. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228660-6.
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Aikman, Lisa, Jennifer Roberts-Smith, Stan Ruecker, Kate Crozier, Jessica Hutchison, Carin Lowerison, Signy Lynch, et al. "Theatre for relationality." In Impacting Theatre Audiences, 145–60. London: Routledge, 2022. http://dx.doi.org/10.4324/9781032214146-13.
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McConachie, Bruce. "General Cognition for Theatre Audiences." In Engaging Audiences, 23–63. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230617025_2.
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Heim, Caroline. "Participant observation in practice and techniques for overcoming researcher insecurity." In Impacting Theatre Audiences, 26–38. London: Routledge, 2022. http://dx.doi.org/10.4324/9781032214146-3.
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Pearce, Celia. "Playing ethnography." In Impacting Theatre Audiences, 124–35. London: Routledge, 2022. http://dx.doi.org/10.4324/9781032214146-11.
Full textConference papers on the topic "Theatre for all audiences"
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Lisowski, Daniel. "Motion Capture Body Tracking and Functional Safety in Dynamically Controlled Theatre Automation Systems." In 10th International Conference on Human Interaction and Emerging Technologies (IHIET 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004077.
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Live theatrical performance is an ever-evolving art form in which visionary theater makers are incorporating evolving technologies into performances to connect and engage modern audiences. Recent developments in theatrical motion control systems are enabling vibrant and adaptive control through dynamic automation. Traditional theatrical motion control systems use a set path motion profile to produce predictable movements of scenery and people through space and time. New dynamic control systems utilize an external generated set point parameter to specify the desired motion. This flexibility enables a DJ to control the movement of flown digital chandeliers above a dance floor with their regular beat control or for Alice to control her flown decent as she tumbles down the rabbit hole by changing the position of her arms. Putting the control of the equipment into the hands of the performers is a significant leap in evolution stage automation control.To accomplish the motion tracking of performers on stage, the research team developed a unique set-up of Microsoft Kinect sensors to monitor the stage environment. The skeletal models of up to four performers were captured and transmitted via an ethernet network to the video game engine. The main benefit of this tracking method is that it allowed for both traditionally costumed performers and regularly dressed audience members to be captured by the system. Most motion capture systems in entertainment require the use of custom body suits which can disenchant and distract audiences. Our system maintains the traditional relationship between costume and character while collecting the necessary interactivity data.The natively 3D nature of the video game environment is optimally suited to handle the interaction between performer and the digital environment. Using the skeletal tracking models from the sensor system, the video game engine allowed the performers to dynamically interactive with the stage environment. They could open doors, swat away birds, and flap their wings to fly away. The added benefit of the system was that it allowed members of youth young audiences to be called onto stage to further the narrative with their actions. The resulting system enables a new performance methodology with exciting new options for theatrical storytelling, educational training, and interactive entertainment. This evolution of control adds risks beyond those present in deterministic systems.Dynamic control of entertainment automation systems requires strong conformance to functional safety principles to mitigate the risks to affected personal and environments. Functional Safety is the mitigation of unacceptable injury risks through the implementation of one or more automatic protection functions (often called safety functions). In traditional theatre environments, safety functions have historically been limited to “Emergency Stop” functions which halt all motion when an operator presses “the big red button”. As systems become more complex and utilize dynamic control, theatrical automation control systems need to utilize a functional safety evaluation process to better protect persons and the environment for systematic and random failures in the systems. Industry experts develop best practice procedures to address safety concerns which are written into documents called standards.The presenter conducts research at the intersection of entertainment and engineering, has actively participated in the development of numerous American national standards with the Technical Standards Program of ESTA (Entertainment Services and Technology Association), and is a dual certified functional safety engineer (TÜV Rheinland and Underwriters Laboratories). This presentation will go through the functional safety considerations required to implement dynamic control per national and international standards using examples from realized performance projects led by the presenter.
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Postolache, Inga. "Premises of the appearance of the Romanian musical: pages of history." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.13.
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The musical is a genre of the musical theater of non-academic orientation, which syncretically combines literature, theater, music, dance, scenography, light design, thus creating a show for audiences of all ages. The purpose of the article is to analyze the premises of the appearance of the musical on the Romanian stage, as well as to reveal the first attempts to create the national musical.
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Fischer, Andre. "New transmedia design for traditional film festivals." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.121.
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The disruptive transformations process in the audiovisual sector were unexpectedly accelerated after the covid-19 pandemic. This caused a rearrangement in the chain of the distribution, exhibition and circulation, thus restructuring the whole design of film festivals, once considered the launching point of this entire industry and strongly based on specific physical locations. Streaming has become the main way in which image and sound content are distributed. Entertainment became multiplatform and interactive, changing the way in which narratives are structured, and these contents are produced and consumed. The convergence of media made porous the boundaries between what are conventionally called video, cinema, theater and performance. The platformization process permanently changed the traditional model of audiovisual distribution, staffing and curation of festivals - which undergo a hybridization operation that allows the potential use of interactive resources and online delivery of movies, plays and performances to audiences all around the globe. To understand the potential of transformations, the study investigates in depth the experience of MixBrasil Festival, largest LGBTQIA+ cultural event in Latin America, created in 1993, showcasing multiple formats and techniques (cinema, theater, music, literature). With digital content being programmed since 2018, in 2020 it expanded its online exhibition to four different digital platforms. The study is carried out concurrently with the monitoring of MixBrasil and other film festivals held in Brazil, considering what strategies are being adopted and how they will stand out as innovative - or just replications of the traditional movie theater model. It also aims to identify processes, paths and perspectives for the sector considering that the old template for launching films used since the 1950´s might no longer be applicable to the current state of the industry. Facts and trends that are forcing these events to face a crisis of identity and questioning the viability of a (still) prestigious circuit. Platformization implies the adoption of online functionalities integrated at economic and infrastructure levels which fully affects the organization strategies of festivals. Therefore, a change in the way of thinking the place of film festivals in the industry chain is in progress: as a possible space for capturing data from the public to support future curatorships and permanent actions which would make them more dynamic and relevant. Associated with this process is the notion of attention economy and the reorientation of users as active producers of culture, in the way they can affect the hybrid future of festivals. Metrics recurrently used like engagement, geolocation, retention and abandon rates are necessary to identify obstacles and potentialities that the new scenario presents. The research is raising additional questions about the behavior and expectations of different age groups, the motivations of audiences for attending festivals. It also investigates why although movie theaters are closing, distributors keep restrictions on festival theatrical screenings. This is a unique opportunity to reflect on perspectives for audiovisual festivals in order to capture viewers' attention, reposition their relevance to society, get the (re)cognition of different audiences and forge new experiences.
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Dima, Mariza. "Engaging theatre audiences before the play." In the 2013 Inputs-Outputs Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2557595.2557600.
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CONDURACHE, Dumitriana. "A Diverse Beauty: Amore, by Pippo Delbono." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0015.
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To consider something or someone different is to discriminate. Objectively, this term has no moral connotation. You take a category and relate to it by choosing different references. Pippo Delbono manages to synthesize the beauty inside the difference; an intense, painful, even tough beauty. For him, contrast is not a method, but an acceptance of identity: marginalization as an existential condition. He places himself in both seats: in the audience – and inside the show. Spectator and actor, director, he changes the perspectives because he embraces them all, thus indicating that each of our roles is interchangeable. We can always be the other or different for someone, a group, a context, and the list could go on. One of the central images of Amore performance this year, at the International Theatre Festival in Sibiu, is a heartbreaking Pietà illustration.
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Simpson, James, and Rory Foster. "Liveness for Contemporary Audiences: Developing online-togetherness in metaverse theatre audiences." In Proceedings of EVA London 2022. BCS Learning & Development, 2022. http://dx.doi.org/10.14236/ewic/eva2022.25.
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Mulvany, Gerard T. "Because the Night - Immersive Theatre for Digital Audiences:." In CHI PLAY '22: The Annual Symposium on Computer-Human Interaction in Play. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3505270.3558374.
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Ormanlı, Okan. "Relationship Between Movie Theaters and Audience During the Pandemic: “Beyoğlu 1989 E-Bulletin” as an Example." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.028.
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Covid-19, a disease that transformed into a pandemic at the beginning of 2020, caused catastrophic results in the world and Turkey. There have been some restrictions on trade, education, tourism, and art. Daily life was not interrupted but some services and events that they have not primary functions (for some people) like “art” were on the verge of stopping and carried to the digital platforms. In this context, some corporations opened their archives and sometimes actual events to the public free of charge or for a certain amount of money. Art, which has always had “healing”, “mediating” and “unifying” effects, was consumed by the billions of people through digital devices. Considering art is both a sector and an industry, the unexpected phenomenon of Covid-19, which is a kind of crisis that occurs one in a hundred years and takes longer than expected, led to the temporary or permanent closure of some art and culture institutions. Due to these results, some supportive programs have been organized by official or non-official institutions to solve financial problems. In Turkey, all the movie theaters closed down on the 16th of March 2020 by the Ministry of Internal Affairs. Some halls opened in July and August, however, because of lack of audience and of the increasing number of patients they have closed down again in November. 2019 was a bad year for the sector yet 2020 was even worse with the decline of the audience by the ratio of %90. Before the pandemic, there were some problems in terms of halls. In this context, some movie theaters tried to find solutions not to lose the audience and find financial support. Beyoğlu Movie Theater that began operating in 1989, had some financial problems before the pandemic. The managers of the hall created a project called “Beyoğlu 1989”, which was a kind of electronic bulletin, and started sending e-mails to the subscribers. This project, which was implemented for the first time in Turkey, has reached the 57th issue and 800 subscribers today and has turned into a kind of weekly electronic-digital cinema newspaper that is also promoted on the Instagram account of the Beyoğlu cinema with 45 thousand followers. The broadcast also follows the cinema agenda and undertakes the task of a written-visual archive. In conclusion, a movie theater that started operating in the analog age, today use all the possibilities and utilities of the digital age and also with the help of its owners and followers, creates a communication ecology to prevent the shutdown. The aim of this article is to examine an electronic bulletin (also a film magazine) “1989”, which is first in Turkey, with the qualitative method.
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Lock, Daniel, David Gochfeld, and Ben Kirman. "Hybrid Improvisational Theatre: A Thematic Review of the Production Processes." In 12th International Conference on Human Interaction and Emerging Technologies (IHIET 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005493.
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Hybrid events, offering both in-person and online access, have become increasingly common, since the COVID-19 pandemic, as a way to make work and entertainment more accessible. Furthermore, growing uptake of modern consumer XR products has led to the development of a number of successful hybrid theatre productions. Such productions generally aim to offer an equally entertaining experience for both the in-person viewers and virtual, globe-spanning, audiences that attend performances online, through a range of different methods. However, while such theatre productions are being produced there has been limited academic work investigating its impact on the development of theatre production from the practitioner's perspective. This paper aims to rectify this by developing an in-depth understanding of the creative and technical challenges posed by hybrid theatre by examining the creation of one such production through interviews with the practitioners and audiences. For this purpose, researchers from the University of York collaborated with the theatre company FANDCO to develop a hybrid improvisational theatre production. To achieve this Unreal Engine, Motion Capture and projector screens were utilized to enable the actors to have a simultaneous in-person and virtual presence. The audience were similarly split, with the flexibility to view the performance either in-person at the theatre or online via a live video stream and a moderated interactive chat. After each showing the practitioners and in-person audience were invited to be interviewed and complete a questionnaire asking them to critically evaluate the overall experience. The online audience were sent a link to the questionnaire and provided the opportunity to be interviewed at a later date. To analyse the data a thematic analysis approach was adopted. The results in this paper highlight a clear understanding between the audience and the practitioners on how the process could be built upon to create captivating hybrid experiences. However, there is an interesting disparity between the two viewpoints on the difficulty of implementing change, setting an elevated expectation on what is viewed as possible compared to what can be achieved with the constraints of budget, time and resources. Overall it is clear that the process of creating hybrid performances could be improved to benefit both the audience and the practitioners but adopting such changes is limited by the resources available to the production team. We conclude that the use of hybrid technology positively affects the theatre space and provides opportunities for novel, exciting avenues for immersive and interactive productions. Furthermore, a rich understanding of the needs of practitioners and audiences can positively affect the theatrical production development process. The findings in this paper provide key insights into the challenges for creators and audience in the development of improvisational hybrid theatre productions and XR-based theatre more generally.
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TOMUȘ, Ionuț. "General Considerations on Performing Poetry in the Current Performing Arts Context." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0012.
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The contemporary theatre landscape seems to have strayed away from the feelings specific to poetry and to reciting it in front of an audience. The topics preferred by theatrical productions now, at the beginning of the XXIst Century, are strongly connected to the social realities one encounters on a daily basis. Certainly, it is reasonable for things to be this way, as theatre depends on firmly anchoring itself in reality, and the means of expression and of conveying emotion have, now, particularities that no one would have thought of fifty years ago. The present study intends to bring performance poetry back into discussion, as a type of artistic expression that has very well contoured specific elements, but that does not benefit from addressing broad audiences anymore, unfortunately
Reports on the topic "Theatre for all audiences"
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Rogers, Amanda. Cambodian Audience Engagement in the Performing Arts: Cambodian Living Arts 2022 Cultural Season. Swansea University, November 2023. http://dx.doi.org/10.23889/sureport.65084.
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Project Report There is growing research on arts audiences - particularly regarding theatre and dance (Sedgman 2019; Walmsley 2019; Reason et al 2022). However, much of this work remains centred on the ‘Global North’ and there is little published research on arts audiences in South East Asia in general, and Cambodia in particular. The exception to this is our previous report (Rogers et al 2021) which was the first time that research has examined audience composition, understanding and preferences for the performing arts in Phnom Penh. This research raised a bigger question around who the arts are for and highlighted that young people did not always understand what they were watching. The project discussed here builds on this previous work, as it sought to further understand the composition of audiences attending Cambodian performance events, examine their reactions, and consider how using simple forms of technology may promote audience engagement and understanding. The research used Cambodian Living Arts’ (CLA) 2022 Cultural Season of performances, workshops, and talks as a case study through which to experiment with this and other methodologies. The Cultural Season (titled Action Today: Consequences Tomorrow) was held in Phnom Penh and then toured across Cambodia, also giving the research the unique opportunity to find out more about arts audiences in the provinces. The findings provide insights into the level of knowledge and understanding of the arts among different audiences across Cambodia, their preferences in terms of types of arts consumed, and the choices surrounding their participation and involvement in the arts.
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.
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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.
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Domanick, Joe. Communicating to Build Trust: A Best Practices Guide for Law Enforcement Specialists in Latin America and the Caribbean. Inter-American Development Bank, September 2016. http://dx.doi.org/10.18235/0006324.
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This guidebook seeks to provide communicators with the practical tools and recommendations to do a better job, particularly in their dealings with reporters on issues from crisis management, violence against women, to reporting on crime statistics, among others. The aim is help build trust among all actors involved. Having the police communicate in a more professional way with the media (and its broader audiences through social media) is helpful not only to the police but to journalists, too, who can then report relevant news more accurately and fairly.
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Ruiz, Pati, Kelly Mills, Keun-woo Lee, Merijke Coenraad, Judi Fusco, Jeremy Roschelle, and Josh Weisgrau. AI Literacy: A Framework to Understand, Evaluate, and Use Emerging Technology. Digital Promise, June 2024. http://dx.doi.org/10.51388/20.500.12265/218.
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To enable all who participate in educational settings to leverage AI tools for powerful learning, this paper describes a framework and strategies for educational leaders to design and implement a clear approach to AI Literacy for their specific audiences (e.g. learners, teachers, or others) that are safe and effective. The first part of the paper describes a framework that identifies essential components of AI Literacy and connects them to existing initiatives. The second part of the paper identifies strategies and illustrative examples as guidance for educational leaders to integrate AI Literacy in PK–12 education and adapt to their unique contexts.
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Yilmaz, Ihsan, Shahram Akbarzadeh, and Galib Bashirov. Comprehending the Tactics of Strategic Digital Disinformation Operations (SDIOs). European Center for Populism Studies (ECPS), September 2023. http://dx.doi.org/10.55271/pp0024.
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In this paper, we introduce the concept of “Strategic Digital Information Operations” (SDIOs), discuss the tactics and practices of the SDIOs, explain the main political goals of state and non-state actors in engaging with SDIOs at home and abroad, and suggest avenues for new research. We argue that the concept of the SDIOs presents a useful framework to discuss all forms of digital manipulation at both domestic and international levels organized by either state or non-state actors. While the literature has examined the military-political impacts of the SDIOs, we still don’t know much about societal issues that the SDIOs influence such as emotive political mobilization, intergroup relations, social cohesion, trust, and emotional resonance among target audiences.
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Cothron, Annaliese, Jose Louro, Elizabeth Alpert, Don Clermont, and Valerie Nieto. The State of Veteran Oral Health in Iowa: Understanding Outcomes and Opportunities for Improving Oral Health and Well-Being for Iowa Veterans. American Institute of Dental Public Health, 2024. http://dx.doi.org/10.58677/roll2812.
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Oral health is critical to overall health and well-being. Unfortunately, marginalized, historically excluded, and underserved communities frequently bear a disproportionate burden of poor oral health due to social and political determinants of health. Veterans, in particular, face an increased risk of disease and disability, impacting not only their oral health but also their overall well-being. In Iowa, veterans are more likely to be rural, have lower incomes, and have disabilities. These factors can all exacerbate the already significant poor oral health outcomes experienced by veterans. This report was developed to serve as a resource for key target audiences including clinicians, advocates, health administrators, nonprofit organizations, researchers, and policy makers to design and implement solutions for Iowa veterans.
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Yilmaz, Ihsan, Shahram Akbarzadeh, and Galib Bashirov. Strategic Digital Information Operations (SDIOs). European Center for Populism Studies (ECPS), September 2023. http://dx.doi.org/10.55271/pp0024a.
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In this paper, we introduce the concept of “Strategic Digital Information Operations” (SDIOs), discuss the tactics and practices of the SDIOs, explain the main political goals of state and non-state actors in engaging with SDIOs at home and abroad, and suggest avenues for new research. We argue that the concept of the SDIOs presents a useful framework to discuss all forms of digital manipulation at both domestic and international levels organized by either state or non-state actors. While the literature has examined the military-political impacts of the SDIOs, we still don’t know much about societal issues that the SDIOs influence such as emotive political mobilization, intergroup relations, social cohesion, trust, and emotional resonance among target audiences.
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Cavallo, Eduardo A., Andrew Powell, and Eduardo Fernández-Arias. Is the Eurozone on the Mend? Latin American Examples to Analyze the Euro Question. Inter-American Development Bank, July 2014. http://dx.doi.org/10.18235/0011642.
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Several European countries face challenges reminiscent of those faced by the emerging economies of Latin America. The economic booms in some peripheral Euro-zone countries financed by large capital inflows; the credit and asset price booms and then the busts including Sudden Stops in capital flows; the strong interaction between sovereign debt and domestic banking systems; the role of foreign banks and contagion; and all in the context of a fixed exchange rate, are familiar plotlines for Latin American audiences. For those Euro-zone countries that built up large Euro-denominated external liabilities, Latin America's experience is particularly relevant and worrisome. Still, Europe may be in a better position to navigate a path out of the crisis given cooperative mechanisms that were absent in Latin America, particularly the availability of massive liquidity support. Nonetheless, while such support buys time, it does not guarantee success. This paper argues that reflecting on Latin America's experience provides useful lessons for Europe to improve the chances for a successful resolution.
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Bozek, Michael, and Tani Hubbard. Greater Yellowstone Network amphibian monitoring protocol science review: A summary of reviewers’ responses. National Park Service, June 2022. http://dx.doi.org/10.36967/nrr-2293614.
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Science reviews are an essential cornerstone of all excellent science programs and are a requirement of monitoring programs within the Inventory and Monitoring Division of the National Park Service (NPS). Science reviews provide necessary professional critique of objectives, study design, data collection, analysis, scientific interpretation, and how effectively information is transferred to target audiences. Additionally, reviews can help identify opportunities to cooperate more effectively with interested and vested partners to expand the impacts of collective findings across larger landscapes. In December 2020, seven biologists from USGS, USFWS, and NPS provided a critical review of the Greater Yellowstone Network Amphibian Monitoring Protocol for monitoring Columbia spotted frogs (Rana luteiventris), boreal chorus frogs (Pseudacris maculata), western toads (Anaxyrus boreas), western tiger salamanders (Ambystoma mavortium), and environmental conditions at wetland sites clustered within watershed units in Yellowstone and Grand Teton national parks. This review followed sixteen years of GRYN amphibian and wetland monitoring, allowing us to evaluate the impact of the work thus far and to discuss potential improvements to the protocol. Reviewers were asked to assess the following amphibian monitoring objectives per Bennetts et al. (2013, Cooperative amphibian monitoring protocol for the Greater Yellowstone Network: Narrative, version 1.0, https://irma.nps.gov/DataStore/Reference/Profile/2194571) and to assess the degree to which GRYN is meeting the objectives based on the current sampling, analyses, and reporting: Objective 1: Estimate the proportion of catchments and wetland sites used for breeding by each of the four common, native amphibian species annually, and estimate the rate at which their use is changing over time. Objective 2: Determine the total number of wetlands within sampled catchments that are suitable for amphibian breeding (i.e., have standing water during the breeding season) annually. Objective 3: For western toads, estimate the proportion of previously identified breeding areas that are used annually, and estimate the rate at which their use may be changing over time. Generally, reviewers commended the GRYN Amphibian Monitoring Program, including the design, the statistical rigor of current analytical approaches, the large number of monitoring reports and publications, and the audiences reached. Reviewers unanimously felt that the first two objectives of this protocol are being met for two species (Columbia spotted frogs and boreal chorus frogs) in medium- and high-quality catchments, and all but one reviewer also felt these objectives are being met for western tiger salamanders. It was universally recognized that objective 3 for western toads is not being met but reviewers attributed this to issues related to funding and capacity rather than design flaws. Reviewers felt the current design provides an adequate base for parlaying additional work and offered suggestions focused on increasing efficiencies, maximizing information that can be collected in the field, strengthening analyses, and improving scientific outreach. In this document, we summarize reviewers' comments and include their full written reviews in Appendix B.
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Ortiz, Veronica, Joaquin Tintore, and Nicole Köstner. EuroSea Guide of communication and dissemination activities for enhanced visibility of innovation in ocean observing and forecasting for a sustainable ocean. EuroSea, 2023. http://dx.doi.org/10.3289/eurosea_d8.10.
Full textAbstract:
The purpose of this report is to provide a compilation of the communication and dissemination activities in EuroSea. It also proposes, as a guide, some guidelines and considerations to be included in the Communication and Dissemination Strategy in European projects. Dissemination and communication activities are essential for the success of the European Union’s Horizon 2020 research and innovation Programme, and the EuroSea project is no exception. The project has focused on improving ocean observing and forecasting for a sustainable ocean, and effective communication has been a crucial element in bringing together the interest groups, ensuring all stakeholders are to work towards the common goal of sustainable, science-based ocean management, as well as promoting and fostering public understanding of the importance and value of the ocean and its crucial role in climate change. This document offers a summary of the consortium's activities carried out during the whole life of the project (November 2019 - October 2023) related to all EuroSea communication and dissemination tools (official website, social media, newsletter, press release), as well as materials generated for the project (visual identity, printed and audiovisual materials) and the events-based dissemination. Key considerations in planning and strategy include defining project objectives, identifying target audiences, crafting effective messages, and selecting appropriate communication channels and tools. Evaluation and adjustment are also vital to measure the effectiveness of communication and dissemination activities. Overall, this guide could serve as a resource for any team involved in communication and dissemination activities in projects from Horizon 2020. This information will be instrumental in enhancing future efforts, maximizing the impact of the activities and ensuring the success of the project. (EuroSea Deliverable, D8.10)