Content in this section centers one crucial aspect of theatremaking: the audience. How do theatremakers identify and attract the right audience for a particular work? What are the different levels of engagement, from simple spectatorship to participation? Amrita Ramanan’s 2013 series gathers thoughts from leaders in the field and is a great place to start, as are videos from Theatre Communications Group’s 2015 Audience (R)Evolution Convening.
Amelia Parenteau deconstructs the use of technology in The Builders Association’s production of Elements of Oz, an adaptation of The Wizard of Oz, presented at 3LD in New York City.
verity healey considers the Battersea Arts Centre’s new Courtyard theatre space and inviting an audience to participate in the performance through interaction with the performance space.
Theatre and Posttraumatic Growth After the 2016 Election
4 January 2017
Emily White writes about how her research on posttraumatic growth informs her belief that theatre can be an important tool to help America unite and heal.
Underground Railroad Game and the Resurgence of the History Play
17 November 2016
Rosa Schneider reflects on history plays, history, and pedagogy in Undergound Railroad Game created by Jennifer Kidwell and Scott Sheppard with Lightning Rod Special playing at Ars Nova in New York City.
In this second installment, Megan Reilly discusses her participation in Ascension, the second phase of The Tension Experience, and reflects on agency for audience members in this immersive experience.
Double Edge Theatre’s Latin American Cycle Builds Bridges Across Massachusetts
20 October 2016
Josh Platt on Double Edge Theatre’s Latin American Spectacle in Jamaica Plain, Massachusetts, Cada Luna Azul / Once a Blue Moon in Ashfield, Massachusetts, and the Springfield Spectacle, in Springfield, Massachusetts.
In this piece, Triple Play project leads Tory Bailey and Brad Erickson respond to selections of a conversation between playwrights Laura Jacqmin and Jacqueline Lawton.
the Politics and Poetics of One Community Immersion Experience
13 October 2016
Karen Hartman describes the process of immersing herself in a community in order to tell their story on stage, in this installment of the Triply Play series.
In this installment of the Triple Play series, Artistic Director Torange Yeghiazarian shares Golden Thread Productions' process for creating space for conversations with artists and audiences both about identity in and representation of the Middle East.
In this installment for the Triple Play series, Director of Community Engagement Leda Hoffmann shares Milwaukee Repertory Theater’s process for curating dialogue about new work with their audience.
Creating Lasting Connections with "Radical Hospitality"
11 October 2016
In this installment of the Triple Play series, Lisa Mallette writes about how City Lights Theater Company extends “radical hospitality” to all audience members.
Why the Division between Marketing and Engagement?
9 October 2016
Theatre marketing consultant Alli Houseworth calls for marketing and audience engagement to come together, the first in a series of articles about Triple Play, a project with Theatre Development Fund and Theatre Bay Area exploring the relationship between playwrights, theatres, and audiences.
In this first installment, Megan Reilly shares her experience with the first phase of The Tension Experience, a project that’s a cross between immersive theatre and an Alternate Reality Game.
Toward a Sensory Theatre / Hacia un Teatro Sensorial
10 September 2016
Beatriz Afonso Santos describes her process of exploring theatre and theatremaking techniques that involve all the senses. Read it in English and in Spanish!
In this cultural moment of divisiveness, how is one of the true stories of abortion theatricalized? Holly Derr considers Oregon Shakespeare Festival’s co-production of Roe by Lisa Loomer.
In this installment, Damon Krometis shares his experience with garnering audience collaboration and gives tips on how to best include audience members in a performance.
Thoughts from a Youngster on Attracting Youngsters to the Playhouse
27 June 2016
Abraham Benson-Goldberg writes about how theatres can be better at attracting young audiences, based on his experiences in Seattle, WA and Tel Aviv, Israel.
Patrick Gaughan explores audience engagement and the relative merit of the Q&A in conversation with Mark Ball, artistic director of the London International Festival of Theatre.