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Audience participation in theatreaesthetics of the invitation /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Audience participation in theatreGareth White.
其他題名:	aesthetics of the invitation /
作者:	White, Gareth.
出版者:	[Basingstoke] :Palgrave Macmillan,2013.
面頁冊數:	1 online resource.
標題:	Participatory theater.
電子資源:	https://link.springer.com/book/10.1057/9781137010742
ISBN:	9781137010742 (electronic bk.)

Audience participation in theatreaesthetics of the invitation /
White, Gareth.

Audience participation in theatreaesthetics of the invitation /[electronic resource] :Gareth White. - [Basingstoke] :Palgrave Macmillan,2013. - 1 online resource.

1. Audience Participation -- 2. Why 'Aesthetics'? -- 3. The Practice and Theory of Audience Participation -- 4. Emancipating Spectators -- 5. Subjectivity as Material and Medium -- 6. The Structure of the Book -- PART I: PROCESS AND PROCEDURE -- 7. Antony Jackson and Frame Analysis -- 8. Goffman's Frame Analysis -- 9. The Frame Analysis of Audience Participation -- 10. Roles and Resources -- 11. Working Inside the Frame -- 12. Control and Social Structure -- 13. Horizons of Participation -- 14. The Aesthetic Meaning of Agency -- 15. Armadillo Theatre -- 16. Analysing Armadillo's Procedure -- PART II: RISK AND RATIONAL ACTION -- 17. Risk in Performance -- 18. Real and Perceived Risk -- 19. Actual Risk in Audience Participation -- 20. Horizons of Risk -- 21. Risk Management as Procedural Authorship -- 22. Ethical Issues in the Management of Real and Perceived Risk -- 23. Protecting Participants into Involvement -- 24. Reading the Audience Participant -- 25. Performativity and the Public Self -- 26. Know One's Fool -- PART III: IRRATIONAL INTERACTIONS -- 27. Emotion in Audience Participation -- 28. Embodied Cognition and the Enactive Theory of Mind -- 29. Empathy and Intersubjectivity in Audience Participation -- 30. Laughter -- 31. Crowds -- 32. Liminality and Communitas -- 33. Hypnosis -- 34. Procedural Authorship and Harnessing Intersubjectivity -- 35. De La Guarda's Liminoid Participation -- 36. Embodiment, Enculturation and Meaning -- PART IV: ACCEPTING THE INVITATION -- 37. Theatre Audiences and Feedback Loops -- 38. A New Horizon -- 39. Weather on the Horizon -- 40. Gaining Roles and Responsibilities -- 41. Experiential Learning -- 42. Reflexivity and Witnessing -- 43. Self-Awareness and Self-Forgetfulness -- 44. Autopoiesis, Allopoiesis, Heteropoiesis -- 45. Tim Crouch: The Author and I, Malvolio -- Conclusion -- 46. The Procedural Author -- 47. The Aesthetic Theory -- 48. Making Special -- 49. Patterning and Elaborating Participation -- 50. The Aesthetic Regime.

The popularity of participatory work with audiences is greater than ever, but the invitation to participate is rarely given attention as a feature of performance, or an important element of practice in its own right. This book presents a theory of audience participation in the theatre, based on the importance of the moment of invitation and how an event changes character when such an invitation is made. The materials from which theatre performance is made expand to include the audience participant's body and social being, with the participant's prior experience and expectations, and their embodied, affective response to the performance becoming of vital importance. Attending to this expanded set of performance media allows us to begin to articulate the aesthetics of participation, and thereafter to consider the ethics and politics of participation more precisely. This book offers a new theory of audience participation and taps into the growth of immersive (or participatory) performance and Applied Theatre. Discussing the work of companies such as Punchdrunk, Shunt and De La Guarda, this book will be of use to students and teachers of performance, theatre practitioners and anyone interested in exploring immersive performance.

ISBN: 9781137010742 (electronic bk.)

Source: 579285Palgrave Macmillanhttp://www.palgraveconnect.comSubjects--Topical Terms:

645482
Participatory theater.
Index Terms--Genre/Form:

214472
Electronic books.

LC Class. No.: PN2049

Dewey Class. No.: 792

Audience participation in theatreaesthetics of the invitation /
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245 1 0 $a Audience participation in theatre $h [electronic resource] : $b aesthetics of the invitation / $c Gareth White.
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300 $a 1 online resource.
505 0 $a 1. Audience Participation -- 2. Why 'Aesthetics'? -- 3. The Practice and Theory of Audience Participation -- 4. Emancipating Spectators -- 5. Subjectivity as Material and Medium -- 6. The Structure of the Book -- PART I: PROCESS AND PROCEDURE -- 7. Antony Jackson and Frame Analysis -- 8. Goffman's Frame Analysis -- 9. The Frame Analysis of Audience Participation -- 10. Roles and Resources -- 11. Working Inside the Frame -- 12. Control and Social Structure -- 13. Horizons of Participation -- 14. The Aesthetic Meaning of Agency -- 15. Armadillo Theatre -- 16. Analysing Armadillo's Procedure -- PART II: RISK AND RATIONAL ACTION -- 17. Risk in Performance -- 18. Real and Perceived Risk -- 19. Actual Risk in Audience Participation -- 20. Horizons of Risk -- 21. Risk Management as Procedural Authorship -- 22. Ethical Issues in the Management of Real and Perceived Risk -- 23. Protecting Participants into Involvement -- 24. Reading the Audience Participant -- 25. Performativity and the Public Self -- 26. Know One's Fool -- PART III: IRRATIONAL INTERACTIONS -- 27. Emotion in Audience Participation -- 28. Embodied Cognition and the Enactive Theory of Mind -- 29. Empathy and Intersubjectivity in Audience Participation -- 30. Laughter -- 31. Crowds -- 32. Liminality and Communitas -- 33. Hypnosis -- 34. Procedural Authorship and Harnessing Intersubjectivity -- 35. De La Guarda's Liminoid Participation -- 36. Embodiment, Enculturation and Meaning -- PART IV: ACCEPTING THE INVITATION -- 37. Theatre Audiences and Feedback Loops -- 38. A New Horizon -- 39. Weather on the Horizon -- 40. Gaining Roles and Responsibilities -- 41. Experiential Learning -- 42. Reflexivity and Witnessing -- 43. Self-Awareness and Self-Forgetfulness -- 44. Autopoiesis, Allopoiesis, Heteropoiesis -- 45. Tim Crouch: The Author and I, Malvolio -- Conclusion -- 46. The Procedural Author -- 47. The Aesthetic Theory -- 48. Making Special -- 49. Patterning and Elaborating Participation -- 50. The Aesthetic Regime.
520 $a The popularity of participatory work with audiences is greater than ever, but the invitation to participate is rarely given attention as a feature of performance, or an important element of practice in its own right. This book presents a theory of audience participation in the theatre, based on the importance of the moment of invitation and how an event changes character when such an invitation is made. The materials from which theatre performance is made expand to include the audience participant's body and social being, with the participant's prior experience and expectations, and their embodied, affective response to the performance becoming of vital importance. Attending to this expanded set of performance media allows us to begin to articulate the aesthetics of participation, and thereafter to consider the ethics and politics of participation more precisely. This book offers a new theory of audience participation and taps into the growth of immersive (or participatory) performance and Applied Theatre. Discussing the work of companies such as Punchdrunk, Shunt and De La Guarda, this book will be of use to students and teachers of performance, theatre practitioners and anyone interested in exploring immersive performance.
588 $a Description based on online resource; title from publisher supplied information (Title not viewed).
650 0 $a Participatory theater. $3 645482
650 7 $a PERFORMING ARTS / Theater / General $2 bisacsh $3 583703
655 4 $a Electronic books. $2 local. $3 214472
856 4 0 $3 Palgrave Connect $u https://link.springer.com/book/10.1057/9781137010742
994 $a C0 $b TEF