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Autor: Grafiati

Data publikacji: 31 sierpnia 2024

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1

Snyder-Young, Dani, i Matt Omasta. Impacting Theatre Audiences. London: Routledge, 2022. http://dx.doi.org/10.4324/9781032214146.

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2

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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3

O'Toole, John, Ricci-Jane Adams, Michael Anderson, Bruce Burton i Robyn Ewing, red. 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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4

Liston, Karen. An exploratory study into the attitudes of the Dublin population to theatre. Dublin: UniversityCollege Dublin, 1990.

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5

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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6

Freshwater, Helen. Theatre & audience. Houndmills, Basingstoke, Hampshire, UK: Palgrave Macmillan, 2009.

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7

Marisa, Smith, red. Seattle Children's Theatre: Six plays for young audiences. Lyme, NH: Smith and Kraus, 1997.

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8

Bennett, Susan. Theatre audiences: A theory of production and reception. London: Routledge, 1990.

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9

Dieleman, Cock, Ricarda Franzen, Veronika Zangl i Henk Danner. Dramaturgy. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463724968.

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Streszczenie:

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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10

1933-, Jennings Coleman A., red. Theatre for young audiences: 20 great plays for children. New York: St. Martin's Press, 1998.

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11

Krauss, Kenneth. Private readings/public texts: Playreaders' constructs of theatre audiences. Rutherford: Fairleigh Dickinson University Press, 1993.

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12

author, Siebenhaar Klaus, red. European theatre and the public: Development, orientations and evidence. Berlin: B&S Siebenhaar Verlag, 2016.

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13

Kantanen, Teuvo. Possibilities to approach theatre behaviour from the viewpoint of consumer behaviour. Vaasa: University of Vaasa, 1990.

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14

Meyer-Dinkgräfe, Daniel. Boulevard Comedy Theatre in Germany. Newcastle-upon-Tyne: Cambridge Scholars, 2005.

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15

Lowell, Swortzell, red. Theatre for young audiences: Around the world in 21 plays. New York: Applause, 1997.

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16

Lowell, Swortzell, red. Around the world in 21 plays: Theatre for young audiences. New York: Applause, 1997.

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17

Dudden, Faye E. Women in the American theatre: Actresses and audiences, 1790-1870. New Haven: Yale University Press, 1994.

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18

Emmet, Kennedy, red. Theatre, opera, and audiences in revolutionary Paris: Analysis and repertory. Westport, Conn: Greenwood Press, 1996.

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19

Chansky, Dorothy. Composing ourselves: The Little Theatre movement and the American audience. Carbondale: Southern Illinois University Press, 2004.

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20

Craddock, Kate, i Helen Freshwater. Theatre and its Audiences. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350339200.

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Written in the aftermath of the Covid-19 crisis, this book brings the past, present and future of theatre-going together as it explores the nature of the relationships between performance practitioners, arts organisations and their audiences. Proposing that the pandemic forced a re-evaluation of what it means to be an audience, and combining historical and current cultural sector perspectives, the book reflects on how historical conventions have conditioned present day expectations of theatre-going in the UK. Helen Freshwater examines the ways in which developments in technology, architecture and forms of communication have influenced what is expected by and of audiences, reflecting changes in theatre’s cultural status and place in our lives. Drawing on the first-hand experiences of festival director and performance practitioner Kate Craddock, it also contends that practitioners now need to turn their attention to care, access and sustainability. Together Freshwater and Craddock argue that it is possible to draw meaningful parallels between the attachments that can develop between performance and audiences, and those we value elsewhere in our lives. Theatre and its Audiences argues that the pandemic taught us, above all, that it is possible to do things differently. Part vision, part provocation, part critical interrogation, it offers an insightful appraisal of past norms and assumptions to set out a bold argument about where we should go from here.

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21

Bennett, Susan. Theatre Audiences. Routledge, 2013. http://dx.doi.org/10.4324/9781315005751.

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22

Bennett, Susan. Theatre Audiences. Taylor & Francis Group, 2013.

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23

Bennett, Susan. Theatre Audiences. Taylor & Francis Group, 2013.

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24

Bennett, Susan. Theatre Audiences. Taylor & Francis Group, 2013.

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25

Bennett, Susan. Theatre Audiences. Taylor & Francis Group, 2013.

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26

Sierz, Aleks, i Lia Ghilardi. The Time Traveller's Guide to British Theatre. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350429628.

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British theatre is booming. But where do these beautiful buildings and exciting plays come from? And when did the story start? To find out we time travel back to the age of the first Queen Elizabeth in the 16th century, four hundred years ago when there was not a single theatre in the land. In the company of a series of well-characterized fictional guides, the eight chapters of the book explore how British theatre began, grew up and developed from the 1550s to the 1950s. The Time-Traveller's Guide to British Theatre tells the story of the movers and shakers, the buildings, the playwrights, the plays and the audiences that make British theatre what it is today. It covers all the great names — from Shakespeare to Terence Rattigan, by way of Oscar Wilde and George Bernard Shaw — and the classic plays, many of which are still revived today, visits the venues and tells their dramatic stories. It is an accessible, journalistic account of this subject which, while based firmly on extensive research and historical accuracy, describes five centuries of British creativity in an interesting and relevant way. It is celebratory in tone, journalistic in style and accurate in content.

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27

Emeljanow. London Theatre Audiences. University of Cambridge ESOL Examinations, 2000.

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28

Impacting Theatre Audiences. Taylor & Francis Group, 2022.

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29

Brook, Peter. Peter Brook: Threads of Time. Methuen Drama, 1998. http://dx.doi.org/10.5040/9781350058408.

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"First there was the master conjurer adept at musicals, farces, opera and Shakespeare. Then there was the philosopher-king … who has devoted his energies to a quest for a theatre that was simple in form and rich in meaning." - Michael Billington The theatre's greatest contemporary director tells the story of his life. Peter Brook was the modern stage's greatest inventor. For over 50 years he held audiences spellbound with his critically acclaimed productions. This is his account of his life. Born in 1925 in London, at 21 Brook became the enfant terrible of British theatre, directing major post-war productions of Shakespeare at Stratford-upon-Avon, opera at Covent Garden and new plays in London's West End. He even made films. In 1964 he produced Peter Weiss's Marat/Sade for the RSC and his whole approach to theatre became radicalised. Throughout the 1970s and 1980s Brook began exploring the roots of non-Western theatre which once again changed his view of what theatre could be for actors and audiences. His journey took him to Paris where he founded a company at the Bouffes du Nord theatre. Brook's autobiography charts all the stages of his aesthetic and spiritual journey, and touches on all parts of a career that has been widely reported but never previously talked about from his personal perspective.

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30

Swortzell, Lowell. Theatre for Young Audiences. Applause Theatre Book Publishers,U.S., 1999.

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31

Semmes, Clovis E. The Problem of Race and Chicago’s Great Tivoli Theater. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037023.003.0003.

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This chapter historicizes the building of “the great palace theaters” of the early twentieth century, paying particular attention to real-life racial politics. Inspired by the architectural designs of the Chateau de Versailles, the Tivoli Theater was located in Washington Park with its 85 percent white population. The theater, originally built in 1921 for white neighborhood residents, employed a number of black men and women in service capacities. Due to gradual demographic shifts, Tivoli Theater management pursued a policy of separate seating for audiences for the live performances and film exhibitions. The chapter notes that the ornate theaters, including the Regal Theater, which was the black counterpart to the Tivoli Theater, sought to sell the feeling of being upper class while giving access to all classes.

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32

Graham, Janet. Professional Theatre for Young Audiences. Arizona State Univ Dept of, 1988.

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33

Theatre Double Game. University of North Carolina Press, 2011.

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34

Woodruff, Paul. Staging Wisdom through Hamlet. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190698515.003.0003.

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Hamlet illustrates how wisdom can be staged in theater. It ought to be impossible, because theater is watching, and wisdom can't be watched at all. Moreover, people spouting wisdom are rarely worth watching. Successful theater makes fun of those who spout wisdom (such as Polonius) and engages its audiences constantly with humor or emotion, leaving no space for the reflection that leads to wisdom. So how could a play present wisdom successfully in performance? Plato concluded that the playwrights of his time could put nothing but fake wisdom on stage. Plato was wrong: although divine wisdom is beyond the reach of theater, human wisdom is not. Human wisdom lies mainly in recognizing human limitations. In writing to please his audience, Shakespeare succeeded in staging human wisdom, most notably in Hamlet, which brilliantly exposes the folly of those who pretend to be wise.

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35

Theatre and Audience (Theatre &). Palgrave Macmillan, 2009.

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36

Anderson, Michael, Bruce Burton, Robyn Ewing, John O'Toole i Ricci-Jane Adams. Young Audiences, Theatre and the Cultural Conversation. Ingramcontent, 2013.

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37

Omasta, Matt, i Dani Snyder-Young. Impacting Theatre Audiences: Methods for Studying Change. Taylor & Francis Group, 2022.

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38

Omasta, Matt, i Dani Snyder-Young. Impacting Theatre Audiences: Methods for Studying Change. Routledge, 2022.

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39

Anderson, Michael, Bruce Burton, Robyn Ewing, John O'Toole i Ricci-Jane Adams. Young Audiences, Theatre and the Cultural Conversation. Springer London, Limited, 2013.

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40

Omasta, Matt, i Dani Snyder-Young. Impacting Theatre Audiences: Methods for Studying Change. Taylor & Francis Group, 2022.

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41

Anderson, Michael, Bruce Burton, Robyn Ewing, John O'Toole i Ricci-Jane Adams. Young Audiences, Theatre and the Cultural Conversation. Springer Netherlands, 2016.

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42

Maguire, Tom, i Karian Schuitema. Theatre for Young Audiences: A Critical Handbook. Institute of Education Press (IOE Press), 2013.

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43

Omasta, Matt, i Dani Snyder-Young. Impacting Theatre Audiences: Methods for Studying Change. Taylor & Francis Group, 2022.

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44

Oily Cart Impossible Theatre For Young Audiences. Trentham Books, 2012.

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45

Guide to UK Theatre for Young Audiences. Aurora Metro Publications Limited, 2010.

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46

Theatre for Young Audiences: A Critical Handbook. Institute of Education Press (IOE Press), 2012.

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47

Aveyard, Karina. “Our Place”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0018.

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This chapter examines the role of film and cinema as a force in women's lives by focusing on women as cinema audiences. More specifically, it considers the experiences of a modern-day group of women who patronize and actively support the First Avenue Cinema, a 1950s single-screen film theater located in the coastal town of Sawtell in New South Wales, Australia. The chapter first provides a brief background on the geographic and economic contours of Sawtell before turning to First Avenue Cinema and its women audiences, paying attention to how it positions itself as a social space that local women want to inhabit. It also discusses the practices of a “social audience” and describes cinema-going as an act of sociocultural participation. The chapter concludes with a look at the efforts and activism of a particular group of local residents (almost all women) who rallied together in 2009 in an effort to help save the cinema from permanent closure—a response that offers important insights into into the everyday significance of filmgoing for rural women.

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48

Jr, Stanton B. Garner. Kinesthetic Spectatorship in the Theatre: Phenomenology, Cognition, Movement. Palgrave Macmillan, 2018.

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49

Creating Worlds: How to Make Immersive Theatre. Hern Books, Limited, Nick, 2017.

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Creating Worlds: How to Make Immersive Theatre. Hern Books, Limited, Nick, 2017.

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