By Gareth White (auth.)

This ebook asks that we examine the practices that facilitate viewers participation on equivalent phrases with different parts of the theatre maker's artwork; it deals a theoretical foundation for this new process, illustrated via examples from assorted participatory performances.

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Extra info for Audience Participation in Theatre: Aesthetics of the Invitation

Sample text

But the quantity and quality of the interaction that is needed to realise audience participation is different to that which is needed to complete a more conventional performance. Though any performance maker and regular performance watcher knows how much performances can change from one occasion to the next, we are in the habit of considering each performance of the same production to be an iteration of the same work. Does this 29 30 Audience Participation in Theatre make sense when audience participation is a significant element of the performance?

My strategy is not to avoid politics, but to strategically defer it, and to invite it back into the discussion when my terms are ready for it. The theory that I will exploit in the analysis I present is often social theory concerned with power relationships and how they are enacted in the microcosmic interactions of everyday life. So this deferring of the political does not take it out of the discussion entirely: each of the chapters that follow will move fairly swiftly from some assertions about the various media of audience participation as suggested above, to how they come into play in the interactive, social, and often contested space of episodes of audience participation.

The theory that I will exploit in the analysis I present is often social theory concerned with power relationships and how they are enacted in the microcosmic interactions of everyday life. So this deferring of the political does not take it out of the discussion entirely: each of the chapters that follow will move fairly swiftly from some assertions about the various media of audience participation as suggested above, to how they come into play in the interactive, social, and often contested space of episodes of audience participation.

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