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Tacitus, Suetonius, and Juvenal all figure in Bartsch's shrewd analysis of historical and literary responses to the brute facts of empire; even the Panegyricus of Pliny the Younger now appears as a reaction against the widespread awareness of dissimulation.
Actors and Audiences explores the exchanges between those on and off the stage that fill the atmosphere with energy and vitality. Caroline Heim utilises the concept of "electric air" to describe this phenomenon and discuss the charge of emotional electricity that heightens the audience's senses in the theatre. In order to understand this electric air, Heim draws from in-depth interviews with 79 professional audience members and 22 international stage and screen actors in the United Kingdom, United States, France and Germany. Tapping into the growing interest in empirical studies of the audience, this book documents experiences from three productions - The Encounter, Heisenberg and Hunger. Peer Gynt - to describe the nature of these conversations. The interviews disclose essential elements: transference, identification, projection, double consciousness, presence, stage fright and the suspension of disbelief. Ultimately Heim reveals that the heart of theatre is the relationship between those on- and off-stage, the way in which emotions and words create psychological conversations that pass through the fourth wall into an "in-between space," and the resulting electric air. A fascinating introduction to a unique subject, this book provides a close examination of actor and audience perspectives, which is essential reading for students and academics of Theatre, Performance and Audience Studies.
Actors and Audience in the Roman Courtroom by Leanna Bablitz Pdf
What would you see if you attended a trial in a courtroom in the early Roman empire? What was the behaviour of litigants, advocates, judges and audience? It was customary for Roman individuals out of general interest to attend the various courts held in public places in the city centre and as such the Roman courts held an important position in the Roman community on a sociological level as well as a letigious one. This book considers many aspects of Roman courts in the first two centuries AD, both civil and criminal, and illuminates the interaction of Romans of every social group. Actors and Audience in the Roman Courtroom is an essential resource for courses on Roman social history and Roman law as a historical phenomenon.
'Actors always talk about what the audience does. I don’t understand, we are just sitting here.' Audience as Performer proposes that in the theatre, there are two troupes of performers: the actors and the audience. Although academics have scrutinised how audiences respond, make meaning and co-create while watching a performance, little research has considered the behaviour of the theatre audience as a performance in and of itself. This insightful book describes how an audience performs through its myriad gestural, vocal and paralingual actions, and considers the following questions: If the audience are performers, who are their audiences? How have audiences’ roles changed throughout history? How do talkbacks and technology influence the audience’s role as critics? What influence does the audience have on the creation of community in theatre? How can the audience function as both consumer and co-creator? Drawing from over 140 interviews with audience members, actors and ushers in the UK, USA and Austrialia, Heim reveals the lived experience of audience members at the theatrical event. It is a fresh reading of mainstream audiences’ activities, bringing their voices to the fore and exploring their emerging new roles in the theatre of the Twenty-First Century.
Actors and Audiences explores the exchanges between those on and off the stage that fill the atmosphere with energy and vitality. Caroline Heim utilises the concept of "electric air" to describe this phenomenon and discuss the charge of emotional electricity that heightens the audience’s senses in the theatre. In order to understand this electric air, Heim draws from in-depth interviews with 79 professional audience members and 22 international stage and screen actors in the United Kingdom, United States, France and Germany. Tapping into the growing interest in empirical studies of the audience, this book documents experiences from three productions – The Encounter, Heisenberg and Hunger. Peer Gynt – to describe the nature of these conversations. The interviews disclose essential elements: transference, identification, projection, double consciousness, presence, stage fright and the suspension of disbelief. Ultimately Heim reveals that the heart of theatre is the relationship between those on- and off-stage, the way in which emotions and words create psychological conversations that pass through the fourth wall into an "in-between space," and the resulting electric air. A fascinating introduction to a unique subject, this book provides a close examination of actor and audience perspectives, which is essential reading for students and academics of Theatre, Performance and Audience Studies.
Actors, Audiences, and Emotions in the Eighteenth Century by Glen McGillivray Pdf
This book offers an innovative account of how audiences and actors emotionally interacted in the English theatre during the middle decades of the eighteenth century, a period bookended by two of its stars: David Garrick and Sarah Siddons. Drawing upon recent scholarship on the history of emotions, it uses practice theory to challenge the view that emotional interactions between actors and audiences were governed by empathy. It carefully works through how actors communicated emotions through their voices, faces and gestures, how audiences appraised these performances, and mobilised and regulated their own emotional responses. Crucially, this book reveals how theatre spaces mediated the emotional practices of audiences and actors alike. It examines how their public and frequently political interactions were enabled by these spaces.
Shakespeare: Actors and Audiences by Fiona Banks Pdf
Shakespeare: Actors and Audiences brings together the voices of those who make productions of Shakespeare come to life. It shines a spotlight on the relationship between actors and audiences and explores the interplay that makes each performance unique. We know much about theatre in Shakespeare's time but very little about the audiences who attended his plays. Even today the audience's voice remains largely ignored. This volume places the role of the audience at the centre of how we understand Shakespeare in performance. Part One offers an overview of the best current audience research and provides a critical framework for the interviews and testimony of leading actors, theatre makers and audience members that follow in Part Two, including Juliet Stevenson and Emma Rice. Shakespeare: Actors and Audiences offers a fascinating insight into the world of theatre production and of the relationship between actor and audience that lies at the heart of theatre-making.
Actors, Audiences, and Historic Theaters of Kentucky by Marilyn Casto Pdf
Kentucky emerged as a prime site for theatrical activity in the early nineteenth century. Most towns, even quite small ones, constructed increasingly elaborate opera houses, which stood as objects of local pride and symbols of culture. These theaters often hosted amateur performances, providing a forum for talent and a focus for community social life. As theatrical attendance rose, performance halls began offering everything from drama to equestrian shows to burlesque. Today many architects believe that the design of a theater should not detract from the stage or screen. Marilyn Casto shows that nineteenth-century Kentucky audiences, however, not only expected elaborate decor but considered it a delightful part of the theatergoing experience. Embellished arches and painted and gilded walls and ceilings enhanced the theatricality of the performance while adding to the excitement of an evening out. In Actors, Audiences, and Historic Theaters of Kentucky, Casto investigates the social and architectural history of Kentucky theaters, paying special attention to the actors who performed in them and the audiences who saw it all. A captivating glimpse into a disappearing slice of American popular culture, her work examines what people considered entertaining, what they hoped to gain from theatergoing, and how they chose and experienced the theaters' architectural settings. In the social and physical design of these theaters, Casto explores nearly two centuries of the state's and nation's cultural history.
Games for Actors and Non-Actors by Augusto Boal Pdf
Games for Actors and Non-Actors is the classic and best selling book by the founder of Theatre of the Oppressed, Augusto Boal. It sets out the principles and practice of Boal's revolutionary Method, showing how theatre can be used to transform and liberate everyone – actors and non-actors alike! This thoroughly updated and substantially revised second edition includes: two new essays by Boal on major recent projects in Brazil Boal's description of his work with the Royal Shakespeare Company a revised introduction and translator's preface a collection of photographs taken during Boal's workshops, commissioned for this edition new reflections on Forum Theatre.