Audience participation in theatre : aesthetics of the invitation.

By: White, Gareth. author.
Material type: materialTypeLabelBookPublisher: Basingstoke : Palgrave Macmillan, 2013Description: x, 224 p. ; 22 cm.ISBN: 9781137354631.Subject(s): Performing Arts | Participatory theatreDDC classification: 792.02WHI
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Enhanced descriptions from Syndetics:

This book asks that we consider the practices that facilitate audience participation on equal terms with other elements of the theatre maker's art; it offers a theoretical basis for this new approach, illustrated by examples from diverse participatory performances.

Table of contents provided by Syndetics

  • Acknowledgements (p. ix)
  • Introduction (p. 1)
  • Audience participation (p. 1)
  • Why 'aesthetics'? (p. 9)
  • The practice and theory of audience participation (p. 14)
  • Emancipating spectators (p. 20)
  • Subjectivity as material and medium (p. 25)
  • The structure of the book (p. 27)
  • 1 Process and Procedure (p. 29)
  • Antony Jackson and frame analysis (p. 32)
  • Goffman's Frame Analysis (p. 34)
  • The frame analysis of audience participation (p. 39)
  • Roles and resources (p. 44)
  • Working inside the frame (p. 49)
  • Control and social structure (p. 51)
  • Horizons of participation (p. 55)
  • The aesthetic meaning of agency (p. 62)
  • Armadillo Theatre (p. 65)
  • Analysing Armadillo's procedure (p. 69)
  • 2 Risk and Rational Action (p. 73)
  • Risk in performance (p. 73)
  • Real and perceived risk (p. 76)
  • Actual risk in audience participation (p. 78)
  • Horizons of risk (p. 81)
  • Risk management as procedural authorship (p. 83)
  • Ethical issues in the management of real and perceived risk (p. 89)
  • Protecting participants into involvement (p. 94)
  • Reading the audience participant (p. 98)
  • Performativity and the public self (p. 103)
  • Know One's Fool (p. 107)
  • 3 Irrational Interactions (p. 114)
  • Emotion in audience participation (p. 116)
  • Embodied cognition and the enactive theory of mind (p. 120)
  • Empathy and intersubjectivity in audience participation (p. 126)
  • Laughter (p. 129)
  • Crowds (p. 133)
  • Liminality and communitas (p. 138)
  • Hypnosis (p. 143)
  • Procedural authorship and harnessing intersubjectivity (p. 146)
  • de La Guarda's liminoid participation (p. 149)
  • Embodiment, enculturation and meaning (p. 156)
  • 4 Accepting the Invitation (p. 159)
  • Theatre audiences and feedback loops (p. 161)
  • A new horizon (p. 164)
  • Weather on the horizon (p. 166)
  • Gaining roles and responsibilities (p. 168)
  • Experiential learning (p. 173)
  • Reflexivity and witnessing (p. 176)
  • Self-awareness and self-forgetfulness (p. 181)
  • Autopoiesis, allopoiesis, heteropoiesis (p. 187)
  • Tim Crouch: The Author and I, Malvolio (p. 188)
  • 5 Conclusion (p. 195)
  • The procedural author (p. 195)
  • The aesthetic theory (p. 197)
  • Making special (p. 198)
  • Patterning and elaborating participation (p. 201)
  • The aesthetic regime (p. 202)
  • Notes (p. 207)
  • Bibliography (p. 214)
  • Index (p. 221)