THE 191 Lecture 3: THE notes 2.11.16

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Published on 3 May 2016
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THE Notes – AUDIENCE – February 11, 2016
YouTube videos:
Beyoncé interacting with audience member and shocked that he was actually really good when
she put out the mic – moment of exchange; she becomes the audience member and she becomes
impressed; line between performer and audience becomes blurred
Beyoncé funny video of super fan – and sings "oooo"
What is an audience?
Conscious observer of a performance
Brings own knowledge, bias and background
On a scale from passive to active
Theatre and performance cant exist without an audience
Participating in a performance – even if they are passive (ex. laughing, clapping, silence, tears
Liveness in closer proximity – starstruck stories
Pair and share
Practices we deem normal or proper…
Being quiet and paying attention
Clapping at end
Standing ovations  why?  everyone is a winner; make people feel good; exaggeration; every
individual needs to feel special and validated
Don’t distract others
Don’t answer phone call
Yell things
Unwrap loud things
Suddenly ok to tape concert performance – share experience on social media  feedback from
experience is more important than actual experience
Overall – DON’T DISTURB THE PERFORMACE and it is DICTATED BY CULTURAL NORMS/LOGIC
NOT THAT THE BEHAVIOR ITSELF IS ACTUALLY GOOD OR BAD
Passive audience is sign of sophistication
How might a persons values influence what kind of stories they find compelling…. Does audience
have to identify directly with the characters in order to enjoy the production…
the more interested they are depends on their values and beliefs
What are the links between audience behavior and theatrical space…
Small space = more intimate  your feelings are heightened bc everyone can see each other
When the lights go down (theatre = quiet) (concert = cheer)
Dress – are you dressed up, etc
Public programming and theatre
Audience outreach – look for ppl interested in that particular show and how do we get them
there (ex. god of carnage at Miami U – we aren’t married with children, not a popular title – bc we
are younger, we cant afford theatre tickets, we aren’t the most avid theatre goers,
Pre/post-show talk backs – talk to audience about putting on production; the making, and the
message
Subscribers – get updates; invested in an organization; special deals and events for subscribers
(like season ticket holders)  can be moticated by $$ or community building or both
find more resources at oneclass.com
find more resources at oneclass.com
2[NOTES CONTINUED]
If god of carnage was produced by MU or Oxford community arts center
1. what audiences would you reach – white people; married; professors; townie; fine arts students
(bc it’s a fine arts production)
2. how might you do so – get ppl who would be interested in this play based on their identity;
fliers/posters; email;
3. what events would compliment the production – free food;
what do we take away from this module
1. the audience is part of the performance – performance doesn’t exist without the audience
2. norms about how audience behaves is constantly evolving  these are due to: #1). business of
theatre and performance & #2). larger cultural norms/habits
3. theatrical space often frames audience behavior/expectation
find more resources at oneclass.com
find more resources at oneclass.com

Document Summary

The notes audience february 11, 2016. Beyonc funny video of super fan and sings oooo On a scale from passive to active. Theatre and performance cant exist without an audience. Participating in a performance even if they are passive (ex. laughing, clapping, silence, tears. Everyone is a winner; make people feel good; exaggeration; every individual needs to feel special and validated. Suddenly ok to tape concert performance share experience on social media feedback from experience is more important than actual experience. Overall don"t disturb the performace and it is dictated by cultural norms/logic. Not that the behavior itself is actually good or bad. How might a persons values influence what kind of stories they find compelling . Does audience have to identify directly with the characters in order to enjoy the production the more interested they are depends on their values and beliefs. What are the links between audience behavior and theatrical space .