The relationship between audience and the performer by Sydney Desjardins on Prezi
relationships between audience and actors and the type of stage you choose. Look at Using the Space to learn more about the different types of stages you can . Hm. Information interfaces and presentation (e.g.,. HCI): Miscellaneous. Introduction. In March performance, and culminate in a Spectrum of Audience. Interactivity for child .. Forced Migration,. Asymmetrical Power Relations and African-. Key words: theatre audiences, discourse analysis, live performance . This greater body of reflection on the relationship between language and music is . of the research constructing the object of analysis through pre‑definition ().
The role of the theatre was then a powerful one; actors learned to utilize the material of the play, even of classic works, to make political statements. Later, in the 20th century, the traditional boundaries between actors and spectators were broken down, and the performer became in some cases a virtual assailant of the audience. In the s, Augusto Boal of Brazil developed the theatre of the oppressed, in which performance was intended to serve the triple function of entertainment, education, and consciousness-raising.
In many roles, however, the actor must work within established categories of stock types. Roman comedy, for instance, utilized a limited number of stock characters, such as the cunning slave, the passionate young lover, and the suspicious old father.
The king, the wise counselorthe raging tyrant are examples derived from historical and biblical sources; the leading man, the juvenile, the ingenue, and the villain are examples from theatrical tradition itself. This requires that the actor as well as the author draw from personal observation and experience. With the rise of dramatic realism in the late 19th and early 20th centuries, there arose corresponding theories of actingnotably those of Konstantin Stanislavskydirector of the Moscow Art Theatre.
This style of acting demanded extensive preparation, with rehearsal periods of up to a year. Realistic acting raises questions about the relation between the actor and the role performed: Does the actor merely simulate behaviour, or does he in some sense actually experience the passions and thoughts of the character? Space and time The distinction between actor as performer and actor as character is matched by a distinction between the presentational and representational nature of space and time in theatrical production.
The playhouse area Performer and audience exist together in a common area, within which there is a clearly delineated performing space ring, stage platform, pit and an audience space, the two structurally related. Some of the more common patterns of relationship are 1 an amphitheatrewith a bank of spectators half surrounding a playing area; 2 a circle of spectators standing or sitting around a ring in which the performance takes place; and 3 rows of seated spectators facing a raised platform.
Theatre space is often associated with a special building, but this has not always been the case, nor is it always the case in modern times.
Often theatre space has embraced a town square or even an entire town so that performers and audience are able to mingle. Modern attempts to create a space within which the distinction between performer and audience is blurred called environmental theatre echo earlier examples from the popular theatre.
Celebratory performance marking the opening of the Globe Theatre in London, June 12, First, every production seeks to impart a special quality to the theatrical area. Use of a theatrical building may in itself provide a heightened sense of locale. Otherwise, special decoration of familiar locales town, market square may transform them into ceremonial or festive spaces. Next, every production tries to make the performer visible and audible to the audience. On flat ground the circle or ring has often proved best.
In hilly country the amphitheatre is the readiest solution. When a playing area is to be permanent, some means of raising the performer above the level of the crowd is often introduced, such as boards laid over trestles. The degree to which the performer is to be isolated depends partly on how complete and detailed a view of the presentation the audience expects. The isolation of the performer has, however, another property.
Marking out a playing area was in early antiquity an activity connected with religion. In classical Greece, for instance, the altar of the god Dionysus was surrounded by a circle for dancing.
Theatrical production - Relation to the audience | dubaiairporthotel.info
The objective was to provide an initiative to get conversation flowing round a group of people who did not know each other, and to provide a point to which to return for additional stimulus if conversation ever flagged. In particular, therefore, no indication was given of an interest in the performance as live performance; instead participants were invited to simply talk about the play they had all seen the previous night.
In practice this approach successfully initiated and maintained conversation, with the level of significant intervention from the researcher fairly low. The discussions were recorded and transcribed, with the results analysed to identify recurring themes, repetitions and patterns, along with linguistic markers of the group dynamics, including points of firm agreement and discomfort, as well as more explicit discussion about theatre or live performance.
The paper then moves on to aspects more specific to theatre audiences that do appear to construct a distinct response to the experience of live performance.
Exercise Analysis Memory and Peers Although the occasions in the discussions when the speakers were at their most articulate are especially illuminating, their less eloquent moments of conversational exchange are also revealing. Indeed, the first aspect of the discussions to observe is the mutual support provided to each other by the individual group members, which I did not notice so much at the time but is very conspicuous on the recordings. This occurs repeatedly, especially in the group discussion, with a background of sounds expressing agreement or recollection supporting whoever happens to be speaking at any moment.
I suspect that many of these verbal gestures of support were largely unconscious on the part of the group members, as such conversational tics are habitual and instinctive.
Doubtless, many of them form part of the good-manners of conversation, a principal function being to show someone you are listening. These gestures of support are more prominent on the recording because at the time they were literally background noise to the principal focus on the speaker. However, although many of the background interjections constitute the verbal equivalence of eye contact, offering support and confirming attention on the speaker, in this context they are more than simply good conversational practice.
Below is a short example of this, in which as in other extracts I have attempted to identify all of the speakers and their contributions, although on occasion this is impossible as the particular becomes drowned in a general murmur: Elizabeth — The thing is, that kind of, not madness but eccentricity Nicola: Ummwas developed at the beginning with her cutting off her shoes Roger: Yeahbut then it seemed to just go away Nicola: Normal; general noises of agreement from then on.
Instead, prompted by their not knowing each other and in response to the unusual and potentially awkward focus group situation, such phatic talk quickly established the group as a group — socialising and stabilising the situation. This is present, for example, in explicit reminders of particular moments: Justine — I liked the music Nicola: I think that I like the music, in and of itself, as well as the way that it was used Nicola: Nicola — You see, I noticed.
I always find it kind of jarring Justine: Ewan — It was just mood Justine: Lots of xylophones Justine: Yes, exactly general laughter and agreement. This extract begins with the kind of conversational tics I would describe as habitual, sounds of agreement and attention.
The conversation then moves to a moment of doubt over memory, with some group members recalling an aspect of the performance more than others do.
Here, and elsewhere, such mis-recollections cause a slight disturbance, indicated by surprised or hesitant tones of voice, as the negotiated group relationship is challenged by disagreement.
Often this prompts an individual to move to back-up their memory by directly asking for support, by providing elaborating detail, or other justification.
In other words, such disturbances prompt quick resolution, reaching consensus on memory and resettling the group dynamics.
Here Ewan, who was initially not sure of the particular recollection, makes the first move to resolution by making the effort to remember — partially abandoning his previous position in favour of agreement. The other group members swiftly accept this gesture: Laughter ends this particular segment, indicating a group once more comfortable and in agreement.
As indicated here and throughout the discussion there exists clear pleasure in agreement and, in particular, pleasure in identifying peers and affirming shared memories.
Justine — And it would work, when they were out in the woods and they would send in all that cloud Nicola: Yeahwhite smoke stuff, and then it would be music Roger: Roger — I thought it was strange actually. To get back to Yacob [actually Rundis], he was suddenly a bird watcher in that scene general noises of agreement. Yeah and fell asleep on the couch and was a slob laughter and then suddenly he was the most committed bird watcher Justine: In the world in the world.
The rest of the group instantly recognise the moment the speaker is referring to and are quick to communicate that recognition. Throughout a longish statement by Roger, sounds and words of support can be heard, along with laughter. Nicola — But that was like his one, cos she kept trying to say there is something about you, like you must have an interest or you must have this. So that bird watching thing was the one thing that made him special.
Interpreting and staging a scene
At least he did have one passion, something he could get excited about pause. And he did mention it kind of, he did just mention it vaguely at the beginning Justine: With the bearded tit and all that Justine: Ah I missed that.
He kept going Roger — Is that why it was such a big deal when he sold his book on birds? It is difficult to present the full dimensions of this exchange in a transcript: This is in complete contrast to the similarly extended speech by Roger I examined just before, which the group supports with continual background verbal agreement. The revival occurs with recollection of a particular moment of the play — elaborating on detail to support memory — which inspires first vague and then stronger recollection on the part of the group.
That was really good; Nicola: That was hilarious Ewan — The best bit of stage stuff Nicola: That was so funny laughter. Here, again, the group demonstrates pleasure in agreement, pleasure in sharing and affirming joint memories, and in contrast doubt and disturbance over unsettled or questioned memories.
BBC Bitesize - GCSE Drama - Interpreting and staging a scene - Revision 1
Together these aspects prompt a greater urgency to share memories and reach consensus. This is partly the result of strategic responses to the immediate situation in which they find themselves, seeking to quickly establish a group identity in a socially artificial situation. It is also, however, an indication that there exists for the group a definite sense of a shared experience, with the group forming a homogeneous community taking pleasure in their mutual experience.
The pleasure that emerges in being able to affirm and share memory is therefore a pleasure in identifying and having peers. Within performance theory this description of the relationship between memory and the ephemeral event is frequently presented as central to the experience of live performance.
In the age of electronic memory, of films, and of reproducibility, theatre performance also defines itself through the work of living memory, which is not museum but metamorphosis. Indeed, the relationship between audiences and the potential or lack of it reproducibility of a performance is something that Auslander challenges from a conceptual perspective in Liveness, again responding to what he sees as ontological judgment that values the live over the non-live experience.
In response to this position Auslander constructs a double argument, suggesting: