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Site-based theatre in 21st century B...
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Harmon, Randall.
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Site-based theatre in 21st century Britain: Conceptualizing audience experiences.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
Site-based theatre in 21st century Britain: Conceptualizing audience experiences./
作者:
Harmon, Randall.
出版者:
Ann Arbor : ProQuest Dissertations & Theses, : 2015,
面頁冊數:
246 p.
附註:
Source: Dissertation Abstracts International, Volume: 77-01(E), Section: A.
Contained By:
Dissertation Abstracts International77-01A(E).
標題:
Theater. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3721816
ISBN:
9781339035895
Site-based theatre in 21st century Britain: Conceptualizing audience experiences.
Harmon, Randall.
Site-based theatre in 21st century Britain: Conceptualizing audience experiences.
- Ann Arbor : ProQuest Dissertations & Theses, 2015 - 246 p.
Source: Dissertation Abstracts International, Volume: 77-01(E), Section: A.
Thesis (Ph.D.)--University of Colorado at Boulder, 2015.
This dissertation sets out to provide guidelines for the conceptualization of audience experiences for site-based theatre---theatre events more commonly described as site-specific, site-responsive, or immersive. Creators of site-based theatre should design participative engagement for audiences that immerses participants in the site and interfaces with its contexts, and promotes a visceral and memorable experience of the performance.
ISBN: 9781339035895Subjects--Topical Terms:
522973
Theater.
Site-based theatre in 21st century Britain: Conceptualizing audience experiences.
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Following a definition of site-based theatre, this dissertation investigates conceptual practices of 20 leading practitioners of site-based theatre in contemporary Great Britain; Grid Iron Theatre, Punchdrunk, Pearson/Brookes, Common Wealth Theatre Company, Hydrocracker Theatre, Red Earth, and ZU-UK, among others. Based on interviews with these practitioners, and observations of eight site-based theatre productions in the U.K. between 2011-2013, this dissertation proposes and explores a two-step sequence for the conceptualization of visceral and memorable site-based theatre audience experiences, and derives a taxonomy of the essential qualities of site-based theatre.
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Chapter Three explores how site-based theatre benefits from an excited and engaged audience. Some audiences are attracted to site-based theatre's egalitarian appeal that defies the power implications of the conventional theatre transaction.
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Chapter Four explains how real-world sites offer locational, societal, historical and cultural contexts to be perceived and interpreted by the spectator. Numerous considerations for performance and participant interfaces are explored including a range of possible responses to contextual information present in the site.
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Chapter Five explores the range of possible participative engagement available to creators of site-based theatre. Conceiving participative engagement requires attention to: inviting agency and active participation; engaging participants in roles in the performance; the usage and effects of immersion, proxemics, haptics and temporality, orientation and disorientation, and transitions; and methods for compelling movement through the performance and site. This study identifies and discusses two foundational considerations for the conceptualization of site-based theatre and considers the possibility for expanded site-based theatre activity in the United States in the future.
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