Preface Introduction: theatre and theatre studies Part I. Elements of Theatre: 1. Performers and actors 2. Spectators and audiences 3. Spaces and places Part II. Subjects and Methods: 4. Theories of theatre 1: Historical paradigms 5 Theories of theatre 2: Systematic and critical approaches 6. Theatre historiography 7. Text and performance 8. Performance analysis 9. Music theatre 10. Dance theatre Part III. Theatre Studies between Disciplines: 11. Applied theatre 12. Theatre and media.

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Places of performance : the semiotics of theatre architecture

The Cambridge introduction to theatre studies

Who is producing site-specific performance in Britain? Who sees it? Where do these performances occur, or, more particularly, ‘take place’? What tools are used to construct a performance of place? Why is the site-specific mode chosen? And, crucially, how is it variously defined? Drawing on a survey of British practitioners conducted between November 2000 and December 2001, Fiona Wilkie sets out to explore these questions. While pointing to the wide variety of practices that might be delineated by the term ‘site-specific’, she analyzes the implications of such generalizations as can be made – about the types of performance site chosen, the effects of funding policy on the character of work being made, the possibilities for identifying a ‘site-specific’ audience, and the debates surrounding the terminology itself. Fiona Wilkie is currently completing a PhD at the University of Surrey, on which this article is based, which aims to develop a theoretical model for site-specific performance, with particular reference to the spectatorial role.

background

https://www.cambridge.org/core/services/aop-cambridge-core/content/view/S0266464X02000234

Mapping the Terrain: a Survey of Site-Specific Performance in Britain

Preface Part I. Elements: 1. What is scenography? 2. Twentieth-century pioneers of scenography Part II. Processes of Scenography: 3. Text as conditioner of image 4. Recognising and realising space 5. Technology as performance Part III. Realisation and Reception: 6. Analysis of scenography 7. Reception of scenography 8. Completion and exchange of the image.

/pdf/the-cambridge-introduction-to-scenography-44rg9nrjdl.pdf

The Cambridge Introduction to Scenography

By investigating music listening and learning of audience members in three orchestral concert hall settings in Australia, the study theorises how relationships, social interaction, space, programming and technologies are curated to support audience engagement and learning of music within the concert hall. This work contributes to philosophical understandings about the importance of music education for developing audiences and innovates phenomenological research methods through mindfulness practices. The findings illustrate the need to redefine perspectives on learning in public spaces like the concert hall, recognise the diversity of audience experiences, and the opportunities for learning and engagement present in the art form.

Places of performance : the semiotics of theatre architecture

Citations

The Cambridge introduction to theatre studies

Mapping the Terrain: a Survey of Site-Specific Performance in Britain

The Cambridge Introduction to Scenography

Listening and Audience Education in the Orchestral Concert Hall

Novel Buildings: Architectural and Narrative Form in Victorian Fiction

Related Papers (5)

The production of space

The Empty Space

Theatre Audiences: A Theory of Production and Reception

The Practice of Everyday Life

Cities of the Dead: Circum-Atlantic Performance