| Id | 900 | |
| Author | Staniškyte J. | |
| Title | Spectatorship, politics and the rules of participation: Re-discovering the audience in contemporary Lithuanian theatre | |
| Reference | Staniškyte J.; Spectatorship, politics and the rules of participation: Re-discovering the audience in contemporary Lithuanian theatre ;Nordic Theatre Studies vol:30.0 issue: 2.0 page:99.0 |
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| Link to article | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85065513740&doi=10.7146%2fnts.v30i2.112954&partnerID=40&md5=f36d7678099bf5b258c53aa018ce2500 |
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| Abstract | Contemporary theatre performances offer many examples of audience engagement - its forms range from physical interventions into public space to mental emancipation of the audiences imagination. These practices put into question the effectiveness of the existing tools of audience research because, in some instances, theatre serves as a manipulation machine, tricking the public to perform specific social actions, while in other cases, it becomes a tool for the deconstruction of manipulation mechanisms at the same time serving as a platform for engaging entertainment. Audience research paradigms, based on dichotomies such as passive/active, inclusion/exclusion or incorporation/resistance are no longer able to address the complex concepts of spectatorship as performance, co-creation, or audience participation. Therefore, new practices of audience participation, conspicuously emerging in contemporary Lithuanian theatre, can only be adequately addressed by combining methodologies from different disciplines and critically evaluating historical and theoretical implications of these practices. In my article, I will focus on the historical implications of the term audience participation as a form of public engagement and issues of its application as experienced by theatre artists and audiences in Lithuania. The article will also examine the theoretical implications of the notion of participatory turn and its effect on theatre productions at the same time challenging the conceptual equations of active spectatorship in the aesthetic sphere to the emergence of active participant in the public sphere. © 2018 Foereningen Nordiska Teaterforskare. All rights reserved. |
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| Id | View | Author | Title | Distance |
|---|---|---|---|---|
| 917 |  |
Swift E. | What do audiences do? Negotiating the possible worlds of participatory theatre | 68.6072 |
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Spiegel, J., B.; Parent, S., N. | Re-approaching community development through the arts: a ‘critical mixed methods’ study of social circus in Quebec. | 98.6534 |
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Walmsley, B., | Co-creating theatre: authentic engagement or inter-legitimation? | 105.276 |
| 904 | |
Cowie P. | Performing planning: Understanding community participation in planning through theatre | 109.903 |
| 905 | |
Erel U., Reynolds T., Kaptani E. | Participatory theatre for transformative social research | 110.639 |
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Blackwell A. | Tweeting from the grave: Shakespeare, adaptation, and social media | 111.459 |
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Frieze J. | Reframing immersive theatre: The politics and pragmatics of participatory performance | 114.056 |
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Fancourt D., Baxter L., Lorencatto F. | Barriers and enablers to engagement in participatory arts activities amongst individuals with depression and anxiety: Quantitative analyses using a behaviour change framework | 116.017 |
| 880 | |
Quinlan E., Thomas R., Ahmed S., Fichtner P., McMullen L., Block J. | The aesthetic rationality of the popular expressive arts: Lifeworld communication among breast cancer survivors living with lymphedema | 117.121 |
| 902 | |
Meehan E. | Immersive performance and somatic practices: Joan davis and the maya lila project | 118.011 |
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