Young audiences and live theatre, Part 1: Methods, participation and memory in audience research

Reason, Matthew

doi:10.1386/stap.26.2.129/1

Cited by 12 publications

(12 citation statements)

References 5 publications

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“…The materials we discuss here draw on the audience research data gathered by this project through a range of qualitative approaches-including interviews, focus groups, and creative techniques-that involved in-depth engagement with relatively small numbers of individuals in order to gain a nuanced and detailed understanding of their experiences and responses to dance performances. One of the primary objectives of all qualitative audience research is to elicit talk from participants, providing circumstances where they can respond to their experiences in their own words and in an open manner (see, for example, Geraghty 1998;Reason 2006;Schoenmakers 1990). In addition, at times we introduced more structured elements, using prepared questions focusing on particular areas of interest, such as music or embodied responses.…”

mentioning

confidence: 99%

Kinesthesia, Empathy, and Related Pleasures: An Inquiry into Audience Experiences of Watching Dance

Reason¹,

Reynolds²

2010

Dance Res. J.

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128

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Dance is frequently described as being “about” movement. “Dance,” writes Ann Daly, “although it has a visual component, is fundamentally a kinesthetic art” (Daly 1992, 243). Audience experiences of dance can therefore be conceptualized in terms of responses to movement, most prominently in terms of what has been described as “kinesthetic empathy.” What does it mean, however, to watch, respond to, or appreciate movement? And how does the historical and theoretical concept of kinesthetic empathy relate to contemporary audiences' articulations of the experience of watching dance?This article sets out to answer these questions by exploring different kinds of kinesthetic and empathetic responses and pleasures (and indeed displeasures) articulated by spectators of live dance across different styles and contexts. Pleasure is of particular importance to audience studies because it relates to motivations. Why do people seek out dance performances to watch? What are they looking for in the experience? In this context, we are interested in kinesthetic empathy as a mode of engaging with dance that can give pleasure to spectators and can be a strong motivating factor in why people choose to watch dance.

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mentioning

confidence: 99%

Kinesthesia, Empathy, and Related Pleasures: An Inquiry into Audience Experiences of Watching Dance

Reason¹,

Reynolds²

2010

Dance Res. J.

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128

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“…specific atmosphere, lightening, clothing, objects on stage and their arrangement, tempo, complexity, type of movements, and so on; cf. Butterworth & Wildschut, 2009;Christensen & Jola, 2015;Reason, 2006).…”

Section: Discussionmentioning

confidence: 99%

“…Previous studies specified many elements of live performance (e.g. lighting, scenography, space, personal dancer-audience communication, and so on) which are lost when the dance is watched on film (McConachie, 2008;Reason, 2006;Reason & Reynolds, 2010). In other words, live dance performance induces stronger emotional experience, attracts more attention and induces higher motivation for watching the performance (Reason & Reynolds, 2010).…”

Section: Discussionmentioning

confidence: 99%

The relationship between the dancers’ and the audience’s aesthetic experience

Vukadinović¹,

Marković²

2017

Psihologija

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The study investigates the aesthetic experience of a dance performance from the perspective of both the dancers and the audience. The audience observed three short custom-made choreographies that were presented live and then watched the recorded versions, and judged them on an instrument designed to measure the aesthetic experience of dance. The choreographies were performed by six dancers. The dancers judged their own performances as well as the recorded versions of the performances. The analyses revealed that the dancers' aesthetic experience of a dance performance is similar when they perform choreography and watch it on video. On the other hand, the audience showed a higher sensitivity to live performance: they judged the live performance higher on all dimensions of aesthetic experience compared to their video presentation.

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“…For theatre see e.g. Sauter 2000;Barker 2003;Tulloch 2000Tulloch , 2005Reason 2004Reason , 2006aReason , 2006bReason , 2008Reason , 2010aReason , 2010bSedgman 2016 Barker 2012Barker , 2013Radbourne, Johanson and Glow 2013. plays 4,425,220 and £149,446,286 respectively (2015: 2). In fact, in his muchquoted 'Toward a Historiography of the Popular', David Savran (2004) infamously suggested that it is musicals' very popularity that has historically led to the dearth of critical attention.…”

Section: The Tony Awards and 'Big Broadway'mentioning

confidence: 99%

‘What’s bigger than a standing ovation?’: Intimacy and spectacle at the Tony Awards

Sedgman

2016

Studies in Musical Theatre

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General rightsThis document is made available in accordance with publisher policies. Please cite only the published version using the reference above. In 1963, J. S. Siegels described two opposing methods by which artists could affect their audiences. The first was an aesthetic of grandeur: 'a principle of force, based on the sheer size and power of the impression'. The second was an aesthetic of intimacy, 'a principle of attraction: it demands a closeness of association between subject and audience, and necessitates identification and involvement ' (1963: 248). Almost half a century later there remains a lingering understanding that intimacy and spectacle are irreconcilable. While small performances are increasingly praised for their ability to offer audiences 'authentically' intimate encounters with 'real' people, 'largeness' is often associated with artificiality, insincerity, the manufactured spectacular. By analysing online comments to a YouTube video of 'Bigger!' -the celebration of 'Big Broadway' performed by Neil Patrick Harris during the 2013 Tony Awards -this article shows how audiences are able to feel a sense of intimacy while watching big performances, even when these are not experienced 'live'.

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Young audiences and live theatre, Part 1: Methods, participation and memory in audience research

Cited by 12 publications

References 5 publications

Kinesthesia, Empathy, and Related Pleasures: An Inquiry into Audience Experiences of Watching Dance

Kinesthesia, Empathy, and Related Pleasures: An Inquiry into Audience Experiences of Watching Dance

The relationship between the dancers’ and the audience’s aesthetic experience

‘What’s bigger than a standing ovation?’: Intimacy and spectacle at the Tony Awards

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