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.
The tour of UK’s War Horse in the United States shows us that, even a ingenious play, assumed historical knowledge can make or break an audience’s experience.
"Vulgarians," "Vigilantes," and the Great Cell Phone Smashing of 2013
12 June 2013
After an upset theatregoer throws another audience members phone across the theatre, questions were raised about what behaviors are considered respectable in the theatre
Alex Ates writes of a production of Love's Labour's Lost during the Boston Marathon Bombing, and the healing and cathartic qualities of community theater.
Suzan-Lori Parks' Watch Me Work from The Public Theater
A playwriting masterclass
Thursday 25 April 2013
New York, NY, United States
Suzan-Lori Parks livestreamed Watch Me Work from The Public Theater in New York City on the global, commons-based peer produced HowlRound TVnetwork at howlround.tv on Thursday 25 April 2013 at 2 p.m. PST (Vancouver, UTC -8) / 4 p.m. CST (Austin, UTC -6) / 5 p.m. EST (Montréal, UTC -5) / 10 p.m. GMT (London, UTC +0) / 23:00 CET (Berlin, UTC +1)
The Rude Mechs explain how their method of including their audiences – inviting them to join in on the creative process – helps to better engage their patrons... and their artists.
Suzan-Lori Parks' Watch Me Work and Lecture at Emerson College
Wednesday 3 April 2013
Boston, MA, United States
Emerson College in Boston presented two events involving Suzan-Lori Parks livestreamed on the global, commons-based peer-produced HowlRound TV network at howlround.tv on Wednesday 3 April 2013.
Brooke Christensen reflects on her encounters with Emma Rice and Kneehigh's work, and the power of belonging in the audience – whether for 90 minutes and an intermission, or for the rest of one's life.
Perception of Ensemble Theaters & the Role of Audience
23 March 2013
In a continuation of A Big Eyed Fish, Rachel Grossman writes about ensemble theater and audience and what influences our perceptions of this relationship.
Brandon Woolf reflects on the cultural clashes and queer-antagonistic responses to the public performance of UtopiaTM by the ensemble of Shakespeare im Park Berlin in Görlitzer Park.
Miriam Weisfeld discusses theatre attendance, and advocates for deeper engagement across artistic and marketing departments, and between theatre companies.
Though marketing through e-mail still lives, it is key to keep up with the current social media trends as it will keep you relevant after the final demise of e-mail.
Artist and engagement strategist Rachel Grossman writes about her work as co-founder and Ensemble Director of dog & pony dc and the evolution of their goals.
Seeking insight into what makes immersive theatre work for an audience, Jeffrey Mosser observes three productions: PearlDamour’s How to Build a Forest, Punchdrunk’s Sleep No More, and Mikhael Tara Garver’s Fornicated From the Beatles.
Jeffrey Mosser continues his series on immersive theatre. This week, an examination of the patron at Fornicated from the Beatles and How to Build a Forest.