大葉大學圖書館 |

Audience participation in theatre[electronic resource] :aesthetics of the invitation /

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
杜威分類號:	792
書名/作者:	Audience participation in theatre : aesthetics of the invitation // Gareth White.
作者:	White, Gareth.
出版者:	[Basingstoke] : : Palgrave Macmillan,, 2013.
面頁冊數:	1 online resource.
標題:	Participatory theater.
標題:	PERFORMING ARTS / Theater / General
ISBN:	9781137010742 (electronic bk.)
ISBN:	1137010746 (electronic bk.)
內容註:	1. Audience Participation -- 2. Why 'Aesthetics'? -- 3. The Practice and Theory of Audience Participation -- 4. Emancipating Spectators -- 5. Subjectivity as Material and Medium -- 6. The Structure of the Book -- PART I: PROCESS AND PROCEDURE -- 7. Antony Jackson and Frame Analysis -- 8. Goffman's Frame Analysis -- 9. The Frame Analysis of Audience Participation -- 10. Roles and Resources -- 11. Working Inside the Frame -- 12. Control and Social Structure -- 13. Horizons of Participation -- 14. The Aesthetic Meaning of Agency -- 15. Armadillo Theatre -- 16. Analysing Armadillo's Procedure -- PART II: RISK AND RATIONAL ACTION -- 17. Risk in Performance -- 18. Real and Perceived Risk -- 19. Actual Risk in Audience Participation -- 20. Horizons of Risk -- 21. Risk Management as Procedural Authorship -- 22. Ethical Issues in the Management of Real and Perceived Risk -- 23. Protecting Participants into Involvement -- 24. Reading the Audience Participant -- 25. Performativity and the Public Self -- 26. Know One's Fool -- PART III: IRRATIONAL INTERACTIONS -- 27. Emotion in Audience Participation -- 28. Embodied Cognition and the Enactive Theory of Mind -- 29. Empathy and Intersubjectivity in Audience Participation -- 30. Laughter -- 31. Crowds -- 32. Liminality and Communitas -- 33. Hypnosis -- 34. Procedural Authorship and Harnessing Intersubjectivity -- 35. De La Guarda's Liminoid Participation -- 36. Embodiment, Enculturation and Meaning -- PART IV: ACCEPTING THE INVITATION -- 37. Theatre Audiences and Feedback Loops -- 38. A New Horizon -- 39. Weather on the Horizon -- 40. Gaining Roles and Responsibilities -- 41. Experiential Learning -- 42. Reflexivity and Witnessing -- 43. Self-Awareness and Self-Forgetfulness -- 44. Autopoiesis, Allopoiesis, Heteropoiesis -- 45. Tim Crouch: The Author and I, Malvolio -- Conclusion -- 46. The Procedural Author -- 47. The Aesthetic Theory -- 48. Making Special -- 49. Patterning and Elaborating Participation -- 50. The Aesthetic Regime.
摘要、提要註:	The popularity of participatory work with audiences is greater than ever, but the invitation to participate is rarely given attention as a feature of performance, or an important element of practice in its own right. This book presents a theory of audience participation in the theatre, based on the importance of the moment of invitation and how an event changes character when such an invitation is made. The materials from which theatre performance is made expand to include the audience participant's body and social being, with the participant's prior experience and expectations, and their embodied, affective response to the performance becoming of vital importance. Attending to this expanded set of performance media allows us to begin to articulate the aesthetics of participation, and thereafter to consider the ethics and politics of participation more precisely. This book offers a new theory of audience participation and taps into the growth of immersive (or participatory) performance and Applied Theatre. Discussing the work of companies such as Punchdrunk, Shunt and De La Guarda, this book will be of use to students and teachers of performance, theatre practitioners and anyone interested in exploring immersive performance.
電子資源:	http://www.palgraveconnect.com/doifinder/10.1057/9781137010742

Audience participation in theatre[electronic resource] :aesthetics of the invitation /
White, Gareth.

Audience participation in theatreaesthetics of the invitation /[electronic resource] :Gareth White. - [Basingstoke] :Palgrave Macmillan,2013. - 1 online resource.

1. Audience Participation -- 2. Why 'Aesthetics'? -- 3. The Practice and Theory of Audience Participation -- 4. Emancipating Spectators -- 5. Subjectivity as Material and Medium -- 6. The Structure of the Book -- PART I: PROCESS AND PROCEDURE -- 7. Antony Jackson and Frame Analysis -- 8. Goffman's Frame Analysis -- 9. The Frame Analysis of Audience Participation -- 10. Roles and Resources -- 11. Working Inside the Frame -- 12. Control and Social Structure -- 13. Horizons of Participation -- 14. The Aesthetic Meaning of Agency -- 15. Armadillo Theatre -- 16. Analysing Armadillo's Procedure -- PART II: RISK AND RATIONAL ACTION -- 17. Risk in Performance -- 18. Real and Perceived Risk -- 19. Actual Risk in Audience Participation -- 20. Horizons of Risk -- 21. Risk Management as Procedural Authorship -- 22. Ethical Issues in the Management of Real and Perceived Risk -- 23. Protecting Participants into Involvement -- 24. Reading the Audience Participant -- 25. Performativity and the Public Self -- 26. Know One's Fool -- PART III: IRRATIONAL INTERACTIONS -- 27. Emotion in Audience Participation -- 28. Embodied Cognition and the Enactive Theory of Mind -- 29. Empathy and Intersubjectivity in Audience Participation -- 30. Laughter -- 31. Crowds -- 32. Liminality and Communitas -- 33. Hypnosis -- 34. Procedural Authorship and Harnessing Intersubjectivity -- 35. De La Guarda's Liminoid Participation -- 36. Embodiment, Enculturation and Meaning -- PART IV: ACCEPTING THE INVITATION -- 37. Theatre Audiences and Feedback Loops -- 38. A New Horizon -- 39. Weather on the Horizon -- 40. Gaining Roles and Responsibilities -- 41. Experiential Learning -- 42. Reflexivity and Witnessing -- 43. Self-Awareness and Self-Forgetfulness -- 44. Autopoiesis, Allopoiesis, Heteropoiesis -- 45. Tim Crouch: The Author and I, Malvolio -- Conclusion -- 46. The Procedural Author -- 47. The Aesthetic Theory -- 48. Making Special -- 49. Patterning and Elaborating Participation -- 50. The Aesthetic Regime.

The popularity of participatory work with audiences is greater than ever, but the invitation to participate is rarely given attention as a feature of performance, or an important element of practice in its own right. This book presents a theory of audience participation in the theatre, based on the importance of the moment of invitation and how an event changes character when such an invitation is made. The materials from which theatre performance is made expand to include the audience participant's body and social being, with the participant's prior experience and expectations, and their embodied, affective response to the performance becoming of vital importance. Attending to this expanded set of performance media allows us to begin to articulate the aesthetics of participation, and thereafter to consider the ethics and politics of participation more precisely. This book offers a new theory of audience participation and taps into the growth of immersive (or participatory) performance and Applied Theatre. Discussing the work of companies such as Punchdrunk, Shunt and De La Guarda, this book will be of use to students and teachers of performance, theatre practitioners and anyone interested in exploring immersive performance.

ISBN: 9781137010742 (electronic bk.)

Source: 579285Palgrave Macmillanhttp://www.palgraveconnect.comSubjects--Topical Terms:

551189
Participatory theater.
Index Terms--Genre/Form:

336502
Electronic books.

LC Class. No.: PN2049

Dewey Class. No.: 792

Audience participation in theatre[electronic resource] :aesthetics of the invitation /
LDR:04283cam 2200301Ka 4500 001 396396
003 OCoLC
005 20130913034532.0
006 m o d
007 cr cnu---unuuu
008 131202s2013 enk o 000 0 eng d
020 $a 9781137010742 (electronic bk.)
020 $a 1137010746 (electronic bk.)
035 $a (OCoLC)855910392
035 $a ocn855910392
037 $a 579285 $b Palgrave Macmillan $n http://www.palgraveconnect.com
040 $a UKPGM $b eng $c UKPGM $d OCLCO $d N$T $d IDEBK
049 $a TEFA
050 4 $a PN2049
072 7 $a PER $x 011000 $2 bisacsh
082 0 4 $a 792 $2 23
100 1 $a White, Gareth. $3 551188
245 1 0 $a Audience participation in theatre $h [electronic resource] : $b aesthetics of the invitation / $c Gareth White.
260 $a [Basingstoke] : $b Palgrave Macmillan, $c 2013.
300 $a 1 online resource.
505 0 $a 1. Audience Participation -- 2. Why 'Aesthetics'? -- 3. The Practice and Theory of Audience Participation -- 4. Emancipating Spectators -- 5. Subjectivity as Material and Medium -- 6. The Structure of the Book -- PART I: PROCESS AND PROCEDURE -- 7. Antony Jackson and Frame Analysis -- 8. Goffman's Frame Analysis -- 9. The Frame Analysis of Audience Participation -- 10. Roles and Resources -- 11. Working Inside the Frame -- 12. Control and Social Structure -- 13. Horizons of Participation -- 14. The Aesthetic Meaning of Agency -- 15. Armadillo Theatre -- 16. Analysing Armadillo's Procedure -- PART II: RISK AND RATIONAL ACTION -- 17. Risk in Performance -- 18. Real and Perceived Risk -- 19. Actual Risk in Audience Participation -- 20. Horizons of Risk -- 21. Risk Management as Procedural Authorship -- 22. Ethical Issues in the Management of Real and Perceived Risk -- 23. Protecting Participants into Involvement -- 24. Reading the Audience Participant -- 25. Performativity and the Public Self -- 26. Know One's Fool -- PART III: IRRATIONAL INTERACTIONS -- 27. Emotion in Audience Participation -- 28. Embodied Cognition and the Enactive Theory of Mind -- 29. Empathy and Intersubjectivity in Audience Participation -- 30. Laughter -- 31. Crowds -- 32. Liminality and Communitas -- 33. Hypnosis -- 34. Procedural Authorship and Harnessing Intersubjectivity -- 35. De La Guarda's Liminoid Participation -- 36. Embodiment, Enculturation and Meaning -- PART IV: ACCEPTING THE INVITATION -- 37. Theatre Audiences and Feedback Loops -- 38. A New Horizon -- 39. Weather on the Horizon -- 40. Gaining Roles and Responsibilities -- 41. Experiential Learning -- 42. Reflexivity and Witnessing -- 43. Self-Awareness and Self-Forgetfulness -- 44. Autopoiesis, Allopoiesis, Heteropoiesis -- 45. Tim Crouch: The Author and I, Malvolio -- Conclusion -- 46. The Procedural Author -- 47. The Aesthetic Theory -- 48. Making Special -- 49. Patterning and Elaborating Participation -- 50. The Aesthetic Regime.
520 $a The popularity of participatory work with audiences is greater than ever, but the invitation to participate is rarely given attention as a feature of performance, or an important element of practice in its own right. This book presents a theory of audience participation in the theatre, based on the importance of the moment of invitation and how an event changes character when such an invitation is made. The materials from which theatre performance is made expand to include the audience participant's body and social being, with the participant's prior experience and expectations, and their embodied, affective response to the performance becoming of vital importance. Attending to this expanded set of performance media allows us to begin to articulate the aesthetics of participation, and thereafter to consider the ethics and politics of participation more precisely. This book offers a new theory of audience participation and taps into the growth of immersive (or participatory) performance and Applied Theatre. Discussing the work of companies such as Punchdrunk, Shunt and De La Guarda, this book will be of use to students and teachers of performance, theatre practitioners and anyone interested in exploring immersive performance.
588 $a Description based on online resource; title from publisher supplied information (Title not viewed).
650 0 $a Participatory theater. $3 551189
650 7 $a PERFORMING ARTS / Theater / General $2 bisacsh $3 477542
655 4 $a Electronic books. $2 local $3 336502
856 4 0 $3 Palgrave Connect $u http://www.palgraveconnect.com/doifinder/10.1057/9781137010742
994 $a C0 $b TEF