Abstract
Theatre offers a compelling experience for many young people. It engages the intellect, the emotions and the senses. It invites its audience to peer into the private worlds of others where emotions, ideas, relationships are laid bare. In response, engaged spectators claim that they experience more intense emotion than is available to them in their everyday lives. This chapter seeks to share with readers why many young people in the TheatreSpace study found their live theatre experiences to be intensely engaging. It begins with a general discussion of the presence and importance of emotion in the response of theatre goers. It then discusses the process of conceptual blending and its role in creating strong emotion for audiences at live theatre events. Following that the chapter offers insight into different types of audience response before considering four other characteristics of the experience of liveness that contribute to engagement: awareness of the audience, risk, realness and relationship.
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INTERLUDE
INTERLUDE
8.1.1 Case Studies 15 and 16
CASE 15: Moth by Declan Greene
COMPANY: Arena Theatre
VENUE: The Tower Theatre, CUB Malthouse
CASE STUDY PERFORMANCE: 7 pm, Wednesday 26 May 2010
SEASON: 13 May–30 May 2010
KEY INFORMANTS:
Chris Kohn, Director, Moth and Artistic Director, Arena Theatre Company
Declan Greene, Playwright
Sarah Ogden, Actor (Melbourne and Sydney seasons)
Teacher from one of the attending schools
AUDIENCES DETAILS: The research team identified three distinct audience profiles of young people attending Moth: a Year 10 Drama class of intermittent theatre-goers from a Catholic girls’ school; a highly theatre literate Year 10 Drama class of regular theatre-goers from an independent co-educational school; regularly attending independent theatre-goers.
Pre-show audience surveys | 28 |
Post-show interviewees | 34 |
6 month interviewees | 5 |
RESEARCH TEAM:
Partner Chief Investigator: Angela O’Brien
Co-Chief Investigator: Clare Irvine
Lead Research Assistant: Meg Upton
State Project Officer: Tim Stitz
Research Assistants: Georgina Capper, Sarah Lockwood, John O’Toole, Madonna Stinson
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Word of mouth was a significant feature of attraction for the young audience. The data suggests that being able to talk about the experience of theatre in a meaningful way cements its value. An analysis of one school group, regular theatre-goers both with their school and in their own leisure time with family and friends, demonstrates that not being able to talk about the theatre experience presents a barrier to sustained attendance. This cohort, whilst they enjoyed Moth , was not able to explain their experience to their other significant theatre partners (such as family and friends).
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The intimate performance space was reported by the young people to work well for this production and facilitated their engagement with the performers. The venue was also seen as a positive and welcoming environment for young people and encouraged their attendance at this production.
CASE 16: Fat Pig by Neil LaBute
COMPANY: Queensland Theatre Company
VENUE: Bille Brown Studio, Queensland Theatre Company
CASE STUDY PERFORMANCE: 6.30 pm, 8 June/7.30 pm 24 June 2010
SEASON: 31 May–26 June 2010
KEY INFORMANTS:
Katie Stewart, Education Liaison Officer, QTC
Two teachers from each of the attending schools
AUDIENCES DETAILS: One case study production was a night with a number of schools in the audience, whilst the other was designated an under 30s night especially scheduled by QTC. There were two distinct audience cohorts in this case study: young adult theatre enthusiasts, aged between 19 and 27 years, and Year 11 secondary Drama students aged from 15 to 17 years, many of whom were first time theatre-goers.
Pre-show audience surveys | 98 |
Post-show interviewees | 69 |
6 month interviewees | 7 |
RESEARCH TEAM:
Chief Investigator: Bruce Burton
Partner Chief Investigator: Penny Bundy
Lead Research Assistant: Dianne Fenlon
State Project Officer: Andrea Burton
Research Assistants: Gabrielle Castle, Ali Clinch, Chelsea Thomas, Nadia Vanek
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The language of pleasure and engagement was dominant in the students’ responses, while the technical language of theatre was largely absent. Use of technical theatre language did not necessarily correlate with the young people’s level of engagement or enjoyment.
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Humour and politically incorrect dialogue contributed significantly to the respondents’ engagement. Shock value, a sense of unease, and cathartic laughter characterised the young people’s responses to the performance.
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Bundy, P. (2014). Engagement and Liveness. In: O'Toole, J., Adams, RJ., Anderson, M., Burton, B., Ewing, R. (eds) Young Audiences, Theatre and the Cultural Conversation. Landscapes: the Arts, Aesthetics, and Education, vol 12. Springer, Dordrecht. https://doi.org/10.1007/978-94-007-7609-8_8
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DOI: https://doi.org/10.1007/978-94-007-7609-8_8
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