Routledge Companion to Audiences and the Performing Arts

<p>The <i>Routledge Companion to Audiences and the Performing Arts</i> represents a truly multi-dimensional exploration of the inter-relationships between audiences and performance.</p><p>This study considers audiences contextually and historically, through both qualitative and quantitative empirical research, and places them within appropriate philosophical and socio-cultural discourses. Ultimately, the collection marks the point where audiences have become central and essential not just to the act of performance itself but also to theatre, dance, opera, music and performance studies as academic disciplines.</p><p>This Companion will be of great interest to academics, researchers and postgraduates, as well as to theatre, dance, opera and music practitioners and performing arts organisations and stakeholders involved in educational activities.</p> <p>The Paradox of Audiences</p><p>Matthew Reason, Lynne Conner, Katya Johanson and Ben Walmsley</p><p>Part One: Histories, Theories and Questions of Social Justice</p><p>Introduction</p><p>Lynne Conner</p><p>1. Ellen Dissanayake in Conversation </p><p>Ellen Dissanayake and Lynne Conner</p><p>2. Histories of Audiencing: On Evidence, Mythology and Nostalgia</p><p>Helen Freshwater</p><p>3. Disrupting the Audience as Monolith</p><p>Lynne Conner</p><p>4. Who? Why? and How?: The Contribution of Sociology to the Study of Arts Audiences and Where it Needs Help</p><p>Laurie Hanquinet</p><p>5. The Future of Audiences and Audiencing</p><p>Jennifer Novak Leonard</p><p>6. Which Global? Which Local?: Aucitya, Rasa, Development, Ase and other Demands on the Audience </p><p>Glenn Odom and Giri Raghunathan</p><p>7. Forced Experiences: Shifting Modes of Audience Involvement in Immersive Performances</p><p>Doris Kolesch and Theresa Schütz</p><p>Part Two: Policies, Politics and Practices</p><p>Introduction</p><p>Ben Walmsley</p><p>8. Alan Brown in Conversation</p><p>Alan Brown and Emma McDowell </p><p>9. Are We the Baddies?: Audience Development, Cultural Policy and Ideological Precarity</p><p>Steven Hadley</p><p>10. At what cost? Working Class Audiences and the Price of Culture </p><p>Maria Barrett</p><p>11. A ‘Universal Design’ for Audiences with Disabilities?</p><p>Bree Hadley</p><p>12. Fans and Fandom in the Performing Arts</p><p>Kirsty Sedgman</p><p>13. The Role of the Audience in Forum and Interactive Theatre: Perspectives from Bangladesh</p><p>Meghna Guhathakurta</p><p>14. Audience Engagement and the Production of Efficacious Theatre: Case Studies from Ghana</p><p>Awo Mana Asiedu</p><p>15. Critical Perspectives on Valuing Culture: Tensions and Disconnections between Research, Policy and Practice</p><p>Ben Walmsley and Julian Meyrick</p><p>Part Three: Methods, Methodologies and Understanding Audiences</p><p>Introduction</p><p>Matthew Reason</p><p>16. Martin Barker in Conversation </p><p>Martin Barker and Matthew Reason</p><p>17. Mixing Methods in Audience Research Practice: A multi-method(ological) discussion</p><p>Emma McDowell</p><p>18. Quantifying the Dance Spectacle in the Audience’s Mind: A Methodological Quest for Neuroscience Research</p><p>Corinne Jola</p><p>19. Continuous and Collective Measures of Real-Time Audience Engagement</p><p>L.S. Merritt Millman, Guido Orgs and Daniel Richardson</p><p>20. Audience Interaction: Approaches to Researching the Social Dynamics of Live Audiences</p><p>Patrick G.T. Healey, Matthew T. Harris and Michael F. Schober</p><p>21. Quantitative Measures of Audience Experience</p><p>Wing Tung Au, Zhumeng Zuo and Paton Pak Chun Yam</p><p>22. The Benefits and Challenges of Large-Scale Qualitative Research</p><p>Stephanie Pitts and Sarah Price</p><p>23. Creative Methods and Audience Research: Affordances and Radical Potential</p><p>Matthew Reason</p><p>24. Ethics in Audience Research: By the Book or on the Hop? </p><p>Katya Johanson and Hilary Glow</p><p>Part Four: Shorts: Adventures in Thinking About Audiences</p><p>Introduction</p><p>Katya Johanson</p><p>25. Affect</p><p>Lucy Thornett</p><p>26. Agency</p><p>Astrid Breel</p><p>27. Co-Creation</p><p>Michael Pinchbeck and Rachel Baynton</p><p>28. Covid-19</p><p>Tully Barnett</p><p>29. Data</p><p>Rishi Coupland</p><p>30. Dialogue</p><p>Maddy Costa</p><p>31. Integrated and Inclusive</p><p>Vipavinee Artpradid</p><p>32. Labour</p><p>Martin Young</p><p>33. Language</p><p>Michelle Loh</p><p>34. Laughter</p><p>Natalie Diddams</p><p>35. Marginalia</p><p>Helen Yung</p><p>36. Memory</p><p>Elaine Faull</p><p>37. One-to-One</p><p>Rachel Gomme</p><p>38. Pantomime</p><p>Robert Marsden</p><p>39. Post-Humanity</p><p>Fayen D’Evie</p><p>40. Post-Show</p><p>Diane Ragsdale</p><p>41. Rehearsal</p><p>Anja Ali Haapala</p><p>42. Relaxed</p><p>Lauren Hall and Paul Wilshaw</p><p>43. Risk</p><p>Ella de Búrca</p><p>44. Sickness</p><p>Verónica Rodríguez</p><p>45. Thresholds</p><p>Stefania Donini</p><p>46. Touch</p><p>Elena S.V. Flys</p><p>Afterword: Covid-19, Audiences, and the Future of the Performing Arts</p><p>Matthew Reason, Lynne Conner, Katya Johanson and Ben Walmsley</p>