Theatre and Culture from Scotland, starring The List's Theatre Editor, his performance persona and occasional guest stars. Experimental writings, cod-academic critiques and all his opinions, stolen or original.
Interesting: I'm using the book as a literature source for my inquiry project, and it was useful for me to read about theories on audience. I didn't like the focus on immersive theatre, as there was a 2009 survey that indicated most 'regular theatre-goers' still prefer the traditional viewing experience, yet there has been a huge rise in immersive and interactive theatre experiences. Is this a shift away from the proposed "idolatry of the artist"? Giving the audience more responsibility for both their experience and the outcome? I would also suggest that the role of the audience has changed with the advent of social media - how many audience members are mentally composing tweets or status updates, or even (heaven forbid!) blog posts with their own personal criticisms of the production? :P Does this make the role of a genuine critic more or less valid? If everyone and their mums are sharing their opinions for anyone to access, are their 'untrained' opinions carry more unbiased weight than the voice of someone with experience and subjective views, as the book claims? xx
Interesting: I'm using the book as a literature source for my inquiry project, and it was useful for me to read about theories on audience. I didn't like the focus on immersive theatre, as there was a 2009 survey that indicated most 'regular theatre-goers' still prefer the traditional viewing experience, yet there has been a huge rise in immersive and interactive theatre experiences. Is this a shift away from the proposed "idolatry of the artist"? Giving the audience more responsibility for both their experience and the outcome?
ReplyDeleteI would also suggest that the role of the audience has changed with the advent of social media - how many audience members are mentally composing tweets or status updates, or even (heaven forbid!) blog posts with their own personal criticisms of the production? :P Does this make the role of a genuine critic more or less valid? If everyone and their mums are sharing their opinions for anyone to access, are their 'untrained' opinions carry more unbiased weight than the voice of someone with experience and subjective views, as the book claims?
xx