Routledge Companion to Audiences and the Performing Arts

Contents

• The Paradox of Audiences
• Matthew Reason, Lynne Conner, Katya Johanson and Ben Walmsley
• Part One: Histories, Theories and Questions of Social Justice
• Introduction
• Lynne Conner
• 1. Ellen Dissanayake in Conversation
• Ellen Dissanayake and Lynne Conner
• 2. Histories of Audiencing: On Evidence, Mythology and Nostalgia
• Helen Freshwater
• 3. Disrupting the Audience as Monolith
• Lynne Conner
• 4. Who? Why? and How?: The Contribution of Sociology to the Study of Arts Audiences and Where it Needs Help
• Laurie Hanquinet
• 5. The Future of Audiences and Audiencing
• Jennifer Novak Leonard
• 6. Which Global? Which Local?: Aucitya, Rasa, Development, Ase and other Demands on the Audience
• Glenn Odom and Giri Raghunathan
• 7. Forced Experiences: Shifting Modes of Audience Involvement in Immersive Performances
• Doris Kolesch and Theresa Schutz
• Part Two: Policies, Politics and Practices
• Introduction
• Ben Walmsley
• 8. Alan Brown in Conversation
• Alan Brown and Emma McDowell
• 9. Are We the Baddies?: Audience Development, Cultural Policy and Ideological Precarity
• Steven Hadley
• 10. At what cost? Working Class Audiences and the Price of Culture
• Maria Barrett
• 11. A 'Universal Design' for Audiences with Disabilities?
• Bree Hadley
• 12. Fans and Fandom in the Performing Arts
• Kirsty Sedgman
• 13. The Role of the Audience in Forum and Interactive Theatre: Perspectives from Bangladesh
• Meghna Guhathakurta
• 14. Audience Engagement and the Production of Efficacious Theatre: Case Studies from Ghana
• Awo Mana Asiedu
• 15. Critical Perspectives on Valuing Culture: Tensions and Disconnections between Research, Policy and Practice
• Ben Walmsley and Julian Meyrick
• Part Three: Methods, Methodologies and Understanding Audiences
• Introduction
• Matthew Reason
• 16. Martin Barker in Conversation
• Martin Barker and Matthew Reason
• 17. Mixing Methods in Audience Research Practice: A multi-method(ological) discussion
• Emma McDowell
• 18. Quantifying the Dance Spectacle in the Audience's Mind: A Methodological Quest for Neuroscience Research
• Corinne Jola
• 19. Continuous and Collective Measures of Real-Time Audience Engagement
• L.S. Merritt Millman, Guido Orgs and Daniel Richardson
• 20. Audience Interaction: Approaches to Researching the Social Dynamics of Live Audiences
• Patrick G.T. Healey, Matthew T. Harris and Michael F. Schober
• 21. Quantitative Measures of Audience Experience
• Wing Tung Au, Zhumeng Zuo and Paton Pak Chun Yam
• 22. The Benefits and Challenges of Large-Scale Qualitative Research
• Stephanie Pitts and Sarah Price
• 23. Creative Methods and Audience Research: Affordances and Radical Potential
• Matthew Reason
• 24. Ethics in Audience Research: By the Book or on the Hop?
• Katya Johanson and Hilary Glow
• Part Four: Shorts: Adventures in Thinking About Audiences
• Introduction
• Katya Johanson
• 25. Affect
• Lucy Thornett
• 26. Agency
• Astrid Breel
• 27. Co-Creation
• Michael Pinchbeck and Rachel Baynton
• 28. Covid-19
• Tully Barnett
• 29. Data
• Rishi Coupland
• 30. Dialogue
• Maddy Costa
• 31. Integrated and Inclusive
• Vipavinee Artpradid
• 32. Labour
• Martin Young
• 33. Language
• Michelle Loh
• 34. Laughter
• Natalie Diddams
• 35. Marginalia
• Helen Yung
• 36. Memory
• Elaine Faull
• 37. One-to-One
• Rachel Gomme
• 38. Pantomime
• Robert Marsden
• 39. Post-Humanity
• Fayen D'Evie
• 40. Post-Show
• Diane Ragsdale
• 41. Rehearsal
• Anja Ali Haapala
• 42. Relaxed
• Lauren Hall and Paul Wilshaw
• 43. Risk
• Ella de Burca
• 44. Sickness
• Veronica Rodriguez
• 45. Thresholds
• Stefania Donini
• 46. Touch
• Elena S.V. Flys
• Afterword : Covid-19, Audiences, and the Future of the Performing Arts
• Matthew Reason, Lynne Conner, Katya Johanson and Ben Walmsley
• List of Contributors
• Editors
• Matthew Reason is Professor of Theatre and Director of the Institute for Social Justice at York St John University, UK. His current focus is on experiential and phenomenological responses to theatre and dance performance, including through qualitative an
• Lynne Conner is Professor and Chair of the Department of Theatre at the University of North Carolina at Charlotte, USA. Her audience studies publications include Audience Engagement and the Role of Arts Talk in the Digital Era (2013) and Project Brief: T
• Katya Johanson is Professor of Audience Research at Deakin University, Australia. Often in collaboration with public cultural policy agencies, she researches the ways the arts impact on people's lives and beliefs. This includes the impact of transnationa
• Ben Walmsley is Professor of Cultural Engagement in the School of Performance and Cultural Industries at the University of Leeds and Director of the Centre for Cultural Value, UK. Prior to his academic career, he worked as an arts manager for ten years,
• Contributors
• Anja Ali-Haapala is an independent dance researcher and educator based in Brisbane, Australia. Her research focuses on experiences of dance as audience members and recreational dancers. This work informs and is informed by her community dance practice. A
• Vipavinee Artpradid is a postdoctoral research fellow at the Centre for Dance Research (C-DaRE), Coventry University. Her PhD research applied phenomenography to understand the phenomenon known as disability in audiences of inclusive dance. With roots as
• Awo Mana Asiedu is a Senior Lecturer and currently the Acting Director of the School of Performing Arts of the University of Ghana, Legon. She is a member of the Executive Committee of the International Federation of Theatre Research (IFTR) and a member
• Winton Wing Tung Au is Associate Professor in Department of Psychology at The Chinese University of Hong Kong. He started doing experimental research on cooperation but somehow developed an interest in drama. He is too bad at acting so he does research i
• Rachel Baynton is co-artistic director of Proto-type Theater (UK), a company of multi-disciplinary artists creating original performance. She has written, directed, and produced work with venues and communities around the country, and is a regular presen
• Martin Barker is Emeritus Professor at Aberystwyth University, and Visiting Professor at UWE, Bristol (UK). Across a long research career, he has explored topics including contemporary British racism, media panics, censorship campaigns and audience resea
• Dr Tully Barnett is a Senior Lecturer in Creative Industries at Flinders University (South Australia). She researches ways we understand the benefits created by the arts and culture sector with Laboratory Adelaide: The Value of Culture. She is co-author
• Maria Barrett is Associate Professor in the Centre for Cultural and Media Policy Studies at the University of Warwick (UK), where she is Course Director for International Cultural Policy and Management. Maria is currently working on AHRC-funded research
• Rachel Baynton is co-artistic director of Proto-type Theater, a company of multi-disciplinary artists creating original performance. Critics have called their work 'an intriguing brush with altered reality' (New York Times) and 'smartly intelligent, cool
• Dr Astrid Breel is a researcher and educator, whose work explores participation, agency, co-production and impact within an interdisciplinary context. Her work examines how participants find meaning in their participation and how their intangible experie
• Alan Brown , principal of WolfBrown (USA), is a leading researcher and management consultant in the arts and culture sector. His work focuses on understanding consumer demand for cultural experiences and on helping cultural institutions, foundations and
• Ella de Burca (Ireland) works through performance, sculpture and poetry to focus on how humans construct meaning, particularly from a female perspective. She is especially interested in how we perform as 'viewer,' and the discourse surrounding active ver
• Maddy Costa is a UK-based writer, dramaturg and host of conversations inspired by theatre. She contributes reviews to Exeunt and collaborates with theatre-makers to creatively document their work. With Mary Paterson and Diana Damian Martin she is co-host
• Rishi Coupland is Head of Data Intelligence at the National Theatre, where he leads the Data Studio. Prior to this, he was Head of Audience Strategy (National Theatre) and Marketing Services Manager (Southbank Centre). Rishi began his career as an engine
• Fayen Ke-Xiao d'Evie is a blind-ish artist and writer, born in Malaysia, raised in Aotearoa, and now living on Jaara country, Australia. She is the founder of 3-ply, which experiments with publishing as a site for the creation, mutation, dispersal, and a
• Natalie Diddams recently completed her PhD at Manchester Metropolitan University. Her thesis was entitled Making Waves: Comedy, Humour and Laughter as Fourth Wave Feminisms. She is a Lecturer at Manchester Metropolitan University and an Associate Lecture
• Stefania Donini works as Audience Research Officer for the Paisley Museum Re-imagined project (Renfrewshire, Scotland). She completed her PhD on audiences and public spaces, funded through the Barbican-Guildhall studentship. Her academic research and pro
• Ellen Dissanayake is an ethologist and cultural theorist. She is currently Affiliate Professor in the School of Music at the University of Washington (USA). Her books include Early Rock Art of the American West: The Geometric Enigma; L'infanzia dell'Este
• Elaine Faull is an audience researcher. Since obtaining a PhD in Theatre Practice at the University of Exeter, she has continued to evaluate theatre productions in the South West of the UK, in the fields of Outdoor Theatre, Community Theatre and Children
• Dr Elena SV Flys is Professor in Arts Administration at TAI University Center for the Arts. Her research focuses on accessibility, audience reception, and social integration. She designs accessibility for theatre productions in the US and Spain. This Sho
• Helen Freshwater is a Reader in Theatre and Performance at the University of Newcastle (UK). She has a long-standing research interest in theatre audiences. Her publications in this area include Theatre & Audience (2009) and 'British Theatre Audiences si
• Hilary Glow is Professor in the Department of Management at Deakin University, Australia, and Director of the Arts and Cultural Management Program. Her research is in the areas of arts and cultural impact, audience engagement and diversification, evaluat
• Rachel Gomme is an independent artist and researcher based in London. Her practice centres on site-specific performance and one-to-one interactions, and invites attention to the sharing of bodily being in the performance encounter, and to how organic bei
• Meghna Guhathakurta is currently Executive Director of Research Initiatives, Bangladesh (RIB), a research support organised based in Dhaka which specialises in action research with marginalised communities. Prior to that, she taught International Relatio
• Bree Hadley is Associate Professor in Drama at Queensland University of Technology in Brisbane, Australia. She is editor of The Routledge Handbook of Disability Arts Culture and Media (with Donna McDonald, Routledge 2019), author of Disability, Public Sp
• Steven Hadley is an academic, consultant and researcher working internationally in arts management, cultural policy and audience engagement. He is currently a Research Fellow at National University of Ireland Galway and Visiting Lecturer at Leuphana Univ
• Lauren Hall is a PhD researcher in a collaboration between York St John University and leading learning disability arts organisation Mind the Gap Theatre Company, UK. The focus of the research has been into questions of visibility, career opportunities a
• Laurie Hanquinet is an Associate Professor in Sociology at the Universite libre de Bruxelles (Belgium). Her work focuses on cultural hierarchies and social stratification. She has undertaken research on the audiences of art museums, and on different dime
• Matthew Tobias Harris uses live data to research human interaction and transform events. His PhD 'Liveness: an interactional account' investigated performer-audience-audience dynamics by instrumenting auditoriums and staging a series of live performance
• Patrick Healey is Professor of Human Interaction and leads the Cognitive Science Research Group in the School of Electronic Engineering and Computer Science at Queen Mary University of London (UK). He is also an Alan Turing Fellow. Healey's research focu
• Corinne Jola is a cognitive neuroscientist and dancer/choreographer at Abertay University (UK). Her research and practice at the intersection of dance and science makes her a strong communicator between the disciplines. She has published widely on the co
• Doris Kolesch is Professor of Theatre and Performance Studies at Freie Universitat Berlin (Germany) and Co-Director of the Collaborative Research Center 'Affective Societies. Dynamics of social coexistence in Mobile Worlds' where she heads a research pro
• Michelle Loh is Lecturer with the Faculty of Creative Industries, BA and MA Arts Management programmes at LASALLE College of the Arts. She teaches arts policy and research in the arts. She is currently on an academic scholarship for EdD studies with Univ
• Dr Robert Marsden is Head of Department of Media and Performance and Associate Professor of Acting and Directing at Staffordshire University. His is author of Inside the Rehearsal Room (Bloomsbury, January 2022). He has directed over 25 professional pant
• Emma McDowell is an arts professional and postgraduate researcher at the University of Leeds (UK), with broad experience in arts marketing, audience development, theatre producing, audience and cultural value research. Their PhD research explores the pro
• L.S. Merritt Millman is a UK-based researcher, dancer and choreographer. Having completed a MA in Choreography at Trinity Laban in London, she is currently pursuing a PhD in Psychology at Goldsmiths, University of London. Her research interests include i
• Julian Meyrick is Professor of Creative Arts at Griffith University. He is Literary Adviser for the Queensland Theatre and General Editor of Currency House's Platform Paper series. He was Associate Director and Literary Advisor at Melbourne Theatre Compa
• Jennifer L. Novak-Leonard is the Director of Northwestern University's MS in Leadership for Creative Enterprises programme (USA). She specialises in the development and use of novel measurement systems to understand cultural participation and the persona
• Glenn Odom is a Reader at Roehampton University (UK). He is currently completing research on intercultural theatre and a more global understanding of globalization. His books include World Theories of Theatre (Routledge 2017) and Yoruba Performance, Thea
• Guido Orgs is Co-Director of the MSc in Psychology of the Arts, Neuroaesthetics and Creativity in the Department of Psychology at Goldsmiths, University of London (UK). His research combines the cognitive neuroscience of performing and perceiving movemen
• Michael Pinchbeck is Reader in Theatre at Manchester Metropolitan University. His one-to-one performances include The Long and Winding Road (2004-2009) and Sit with me for a moment and remember (2014-2019), which toured the UK and Germany and was shown a
• Stephanie Pitts is Professor in Music at the University of Sheffield (UK), with research interests in musical participation, arts audiences, and lifelong learning. Her books include Chances and Choices: Exploring the Impact of Music Education (2012), Cou
• Sarah Price is a Research Associate in the Sheffield Performer and Audience Research Centre at The University of Sheffield (UK) and co-author of Understanding Audience Engagement in the Contemporary Arts (2021). She is currently working on a Covid-19 res
• Orcid: 0000-0002-8655-5458
• Diane Ragsdale (MFA, BFA, BS) is a speaker, writer, lecturer, and advisor on arts and culture topics. She leads a workshop series on Aesthetic Values in a Changed Cultural Context for Yale University. She previously built an MA in Arts Management and Ent
• Giridhar Raghunathan is a professional dancer, teacher, researcher, author, and public speaker. He holds an MFA in Bharatanatyam from Bharathidasan University, India, and an MTech in Medical Nanotechnology from SASTRA University, India. He has compiled a
• Daniel C. Richardson is a Professor of Experimental Psychology at University College London (UK). His research examines how individuals' thought processes are related to the people around them. He has authored scientific articles in cognitive, developmen
• Veronica Rodriguez is Lecturer in Theatre and Performance at University of Reading. Her research interests are contemporary British theatre with a focus on the intertwining of aesthetics and ethics, globalization, spectatorship, new political forms of th
• Theresa Schutz is a theatre and performance scholar and research associate (postdoc) working at the 'Affective Societies' collaborative research centre at Freie Universitat Berlin in Germany. Since 2013, she has also worked as a theatre journalist, prima
• Michael Schober is Professor of Psychology and Senior Vice Provost for Faculty Affairs at the New School for Social Research, New York (USA). His research deals with questions that cross the lines between psychology, linguistics, human-computer interacti
• Kirsty Sedgman is Lecturer in Theatre at the University of Bristol and specialises in understanding audiences. As Editor of the Routledge series in Audience Research, and author of numerous publications on spectatorial engagement, she uses empirical meth
• Lucy Thornett is a scenographer and Lecturer at University of the Arts, London. She is also completing an AHRC-funded, practice-led PhD in audience experiences of augmented reality scenographies at the University of Leeds. She is current associate editor
• Paton Pak Chun Yam is a Lecturer in Psychology at De Montfort University. His primary research interests include the functions of emotion and intergroup relations. He recently expands his research repertoire, examining audience experience and (sub)genre
• Martin Young is a lecturer in drama at Anglia Ruskin university. He has published on scenography, backstage work, and the politics of labour in the theatre industry and is a contributor to the Performance and Political Economy Research Collective. He has
• Paul Wilshaw is a producer and actor with a learning disability. He is currently Assistant Producer at Mind the Gap Theatre Company, as well as a Ramps of the Moon Agent for Change based at Leeds Playhouse where he actively finds opportunities for people
• Helen Yung is an inter/transdisciplinary artist, researcher and consultant. A scenographer by training, she continues to design sets, costumes, exhibitions, installations, interactions and interventions. Yung also leads the Laboratory for Artistic Intell
• Zhumeng Zuo is a research assistant in the Department of Psychology at The Chinese University of Hong Kong. She started her journey in performing arts by taking up leading roles in drama performances. She soon developed a new interest in breaking the fou