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| Id | 909 | |
| Author | Therese Berg I. | |
| Title | Participation to the people! Locating the popular in Rimini Protokolls Home Visit Europe | |
| Reference | Therese Berg I.; Participation to the people! Locating the popular in Rimini Protokolls Home Visit Europe ;Nordic Theatre Studies vol:29.0 issue: 2.0 page:162.0 |
Link to article | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85053556121&doi=10.7146%2fnts.v29i2.104610&partnerID=40&md5=740d9b6cf01c0c25dff8a37c0b48f73a |
| Abstract | Home Visit Europe by Rimini Protokoll is a performance without performers, only an audience taking part in a game in a private home. As such, it is one example of the participatory strategies that currently have a strong presence in contemporary theatre practices changing how we, as audience, engage with theatre. It is emblematic then that participation is an emergent concept in theatre and performance studies with a rapidly growing body of work on the topic. This article sets out to explore how the idiom of the popular can shed light on some of the central issues in the discourse on participation: that is to say, the relationship between the artist and the audience, authorship, and the relationship between the aesthetic and the social dimension of participatory work. I will be using Home Visit Europe in the context of Bergen International Festival of 2015 as a case study, drawing on an audience research approach combined with a critical reading of the work. The conceptually stringent and tightly ordered dramaturgy of Home Visit Europe, where the audience take turns responding to a set of questions and tasks, demonstrates how problematic the concept of participation can be to describe theatre practices, as the term risks overstating the influence that the audience have over the aesthetic product. In this sense, contemporary participatory strategies resemble popular theatres conflict between established aesthetics, critical standards and popular grounding. A resemblance that brings the paper right to the core of the discourse on participation, which concerns the ideological ramifications of the participatory turn. © Ine Therese Berg and Nordic Theatre Studies PEER REVIEWED ARTICLE. |
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| Placing the performance into different demographic contexts serves artistic intentions, potentially creating more diverse dynamics between players and exploring different social situations. . | The performances of the widely successful group are situated within the economy of the international touring circuit that is embedded in an experimental theatre tradition, but also within that of the experience economy and festivaliza-tion of the arts. . | It comprises both music and performing arts, and it traditionally has balanced between entertaining a broad audience, preserving the classical tradition, while also presenting experimental work. . | This broad definition opens for looking at participation as a phenomena that is historically and culturally contingent and across genres. . | The participatory turn can also symbolize art and researchs dependence on the audience, stemming from increasing pressure on both art and humanities to build a broader legitimacy in the public. . |
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