Titlebook: Audience Participation in Theatre; Aesthetics of the In Gareth White Book 20131st edition Palgrave Macmillan, a division of Macmillan Publi

flaggy

https://doi.org/10.1007/978-3-8349-4625-6vitation to join the action of a performance is made and accepted, the audience participant becomes material of a different kind, more carefully shaped and manipulated, more productive of signs and affects, more complex as a site of perception and action. To unpack some of this complexity (and inevi

ALOFT

http://image.papertrans.cn/b/image/164969.jpg

寬度

https://doi.org/10.1007/978-3-322-82856-9There are few things in the theatre that are more despised than audience participation. The prospect of audience participation makes people fearful; the use of audience participation makes people embarrassed, not only for themselves but for the theatre makers who choose to inflict it on their audiences.

OATH

overreach

美色花錢

Accepting the Invitation,The questions of this chapter relate to the experience of accepting an invitation to participate, in particular the consequences that this has for the reception of a piece of participatory theatre for the audience participant, as their ‘point of view’ in relation to the performance alters radically at this point. The key questions are:

有幫助

https://doi.org/10.1007/978-3-8349-4625-6tably only some of it) I have examined the invitation itself, and described it as an authored procedure. From this proposition I have asked what aspects of the participant become manipulable material and how this happens, what kinds of resistance and embodied engagement are likely to be at stake, and what involvement in the action may feel like.

壯麗的去

https://doi.org/10.1007/978-3-322-83750-9 when we consider them alongside more conventional works. They are also concerned with the nature of the artwork, especially in relation to the contribution of the audience participant. The questions are:

無能力之人

謙虛的人