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The Young Audience: Exploring and Enhancing Children's Experiences of Theatre
Children's theatre in the UK is thriving right now. Interest is growing in the educational, emotional and expressive benefits of theatre for young people; arguments about why children should watchExpand
Kinesthesia, Empathy, and Related Pleasures: An Inquiry into Audience Experiences of Watching Dance
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 ofExpand
Theatre Audiences and Perceptions of ‘Liveness’ in Performance
That theatre is performed live is central to its definition, particularly in contrast with non-live performances on film or television. Yet, despite the centrality of the issue, there is littleExpand
‘Asking the audience: audience research and the experience of theatre’
There are various methodological and philosophical points related to the researches that are conducted to judge and figure out the experiences and comments of the audience after a performance. Expand
Approaches to the newspaper archive: content analysis and press coverage of Glasgow’s Year of Culture
Glasgow’s year as European City of Culture in 1990 is perceived as an event marking a renaissance in perceptions of the city. This article examines how the contemporary press coverage can be used asExpand
Dissatisfied Ghosts: Theatre spectatorship and the production of cultural value
This paper charts an investigation into how creative and dialogic research methods can enhance understanding of what audiences make of the experience of watching theatre. It does so by drawing uponExpand
Young audiences and live theatre, Part 2: Perceptions of liveness in performance
Abstract The concept of ‘liveness’ has become a key theme in performance studies, linking important ideas of presence to contrasting perceptions of audiences as passive consumers or activeExpand
Watching Dance, Drawing the Experience and Visual Knowledge
The experience of dance, of bodies moving in space, might reasonably be considered as ineffable – as located in our tacit or embodied knowledge but beyond the scope of articulation in language.Expand
Thinking theatre. Enhancing children’s theatrical experiences through philosophical enquiry
A marker of quality in a cultural experience is its enduring resonance as it engages its audience intellectually, imaginatively or emotionally. This is certainly the case with theatre that is madeExpand