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*Reveals the major problems facing couples in the twenty-first
century and provides clinicians with practical insights and
up-to-date information into relationship success. *Uncovers how
long-term relationships protect emotional and physical health and
resilience, and protect against mental illness, loneliness and
suicide in a changing society. *Guides therapists on the modifiable
dynamic and protective factors in relationships which lead to
relationship longevity and reviews in the light of the evidence.
*Reveals the major problems facing couples in the twenty-first
century and provides clinicians with practical insights and
up-to-date information into relationship success. *Uncovers how
long-term relationships protect emotional and physical health and
resilience, and protect against mental illness, loneliness and
suicide in a changing society. *Guides therapists on the modifiable
dynamic and protective factors in relationships which lead to
relationship longevity and reviews in the light of the evidence.
'Actors always talk about what the audience does. I don't
understand, we are just sitting here.' Audience as Performer
proposes that in the theatre, there are two troupes of performers:
the actors and the audience. Although academics have scrutinised
how audiences respond, make meaning and co-create while watching a
performance, little research has considered the behaviour of the
theatre audience as a performance in and of itself. This insightful
book describes how an audience performs through its myriad
gestural, vocal and paralingual actions, and considers the
following questions: If the audience are performers, who are their
audiences? How have audiences' roles changed throughout history?
How do talkbacks and technology influence the audience's role as
critics? What influence does the audience have on the creation of
community in theatre? How can the audience function as both
consumer and co-creator? Drawing from over 140 interviews with
audience members, actors and ushers in the UK, USA and Austrialia,
Heim reveals the lived experience of audience members at the
theatrical event. It is a fresh reading of mainstream audiences'
activities, bringing their voices to the fore and exploring their
emerging new roles in the theatre of the Twenty-First Century.
Actors and Audiences explores the exchanges between those on and
off the stage that fill the atmosphere with energy and vitality.
Caroline Heim utilises the concept of "electric air" to describe
this phenomenon and discuss the charge of emotional electricity
that heightens the audience's senses in the theatre. In order to
understand this electric air, Heim draws from in-depth interviews
with 79 professional audience members and 22 international stage
and screen actors in the United Kingdom, United States, France and
Germany. Tapping into the growing interest in empirical studies of
the audience, this book documents experiences from three
productions - The Encounter, Heisenberg and Hunger. Peer Gynt - to
describe the nature of these conversations. The interviews disclose
essential elements: transference, identification, projection,
double consciousness, presence, stage fright and the suspension of
disbelief. Ultimately Heim reveals that the heart of theatre is the
relationship between those on- and off-stage, the way in which
emotions and words create psychological conversations that pass
through the fourth wall into an "in-between space," and the
resulting electric air. A fascinating introduction to a unique
subject, this book provides a close examination of actor and
audience perspectives, which is essential reading for students and
academics of Theatre, Performance and Audience Studies.
Actors and Audiences explores the exchanges between those on and
off the stage that fill the atmosphere with energy and vitality.
Caroline Heim utilises the concept of "electric air" to describe
this phenomenon and discuss the charge of emotional electricity
that heightens the audience's senses in the theatre. In order to
understand this electric air, Heim draws from in-depth interviews
with 79 professional audience members and 22 international stage
and screen actors in the United Kingdom, United States, France and
Germany. Tapping into the growing interest in empirical studies of
the audience, this book documents experiences from three
productions - The Encounter, Heisenberg and Hunger. Peer Gynt - to
describe the nature of these conversations. The interviews disclose
essential elements: transference, identification, projection,
double consciousness, presence, stage fright and the suspension of
disbelief. Ultimately Heim reveals that the heart of theatre is the
relationship between those on- and off-stage, the way in which
emotions and words create psychological conversations that pass
through the fourth wall into an "in-between space," and the
resulting electric air. A fascinating introduction to a unique
subject, this book provides a close examination of actor and
audience perspectives, which is essential reading for students and
academics of Theatre, Performance and Audience Studies.
'Actors always talk about what the audience does. I don't
understand, we are just sitting here.' Audience as Performer
proposes that in the theatre, there are two troupes of performers:
the actors and the audience. Although academics have scrutinised
how audiences respond, make meaning and co-create while watching a
performance, little research has considered the behaviour of the
theatre audience as a performance in and of itself. This insightful
book describes how an audience performs through its myriad
gestural, vocal and paralingual actions, and considers the
following questions: If the audience are performers, who are their
audiences? How have audiences' roles changed throughout history?
How do talkbacks and technology influence the audience's role as
critics? What influence does the audience have on the creation of
community in theatre? How can the audience function as both
consumer and co-creator? Drawing from over 140 interviews with
audience members, actors and ushers in the UK, USA and Austrialia,
Heim reveals the lived experience of audience members at the
theatrical event. It is a fresh reading of mainstream audiences'
activities, bringing their voices to the fore and exploring their
emerging new roles in the theatre of the Twenty-First Century.
Theatre Audience Contribution introduces a new approach to theatre
audience research: audience contribution through the
post-performance discussion. This volume considers the physical and
vocal behaviour of audience members as an integral part of the
theatrical event that changes, adds to and informs the theatrical
experience. Post- performance discussions, although rising in
popularity, are yet an under-explored and under- utilised avenue
for audience contribution. Beginning with an overview of reception
theory and the historical role of theatre audiences, the author
introduces a new method for the facilitation of post- performance
discussions that encourages audience contribution and privileges
the audience voice. Two case studies explore post-performance
discussions that inform the theatrical event and discover a new
role for the contemporary audience: audience critic. This
accessible volume has significant implications for theatre
theorists, practitioners and audiences alike.
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