-- Audience -- Public
|theatron = 'seeing place' = auditorium = 'hearing place'
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Audience is what you have in the house tonight. First, somewhat a crowd, the people, folks, from the street...
Method for Directors?
ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
prof. Anatoly Antohin Theatre UAF AK 99775 USA (907)474-7751
For terminology see something like 200X Files the Aesthetics. [an error occurred while processing this directive] The goal: to make one out of many! (from PUBLIC to AUDIENCE?)
References: Semiotics of Performance. Part Seven -- The Spectator's Task, p.158
"... the only producer of the semantic and communicative potential of the performance text."
SummaryI have to be careful with the term "audience" (audio), since my focus on spectacle (show). Maybe audience is simply a historical category; "drama based theatre" before 20th century.
QuestionsIn view of Virtual Theatre, spectator is central: spectator as audience, spectator as public.
Directing Public (Part 5 of Stagematrix).
2006. Go.dot Year
The 4th Wall (illusion) and No-Wall (also, illusion) theatres.
Show is the form of the public's existence.
Public = Audience + SpectatorsThe initial crowd is organized into PUBLIC by what they hear and what they see. Do we need to separate ear and eye?
Hearing and seeing is not always complimentary (realism), but contrapointial (artistic). The later is linguistic (stage texts). If we are to use the basic communiucation model:
Sender-- Medium -- Reciever
And attribute 7% to words, 34% -- paralingual, the rest of the message is body language. What we hear counts for less than a half of the message! (In film this proportion becomes even more important, see film.vtheatre.net).
What if we are to look at the chronotope of the show and try to understand how hearing and sight work the time and space within the spectacle.
Question: should I equate Public and Show? We can't fully separate the two, since the spectacle is self-evolving entity.
... all right, perhaps, we can assign audio to time dimension. Visual -- to space. Is is so? Not, if we consider spectator's chronotope (subjective, sometimes I call it "dramatic").
[ .... ]
122. Audience go to the theater to live other life's!
True. My own life as Other... Do we call it "mask"?
Crowd, Public, Audience, SpectatorFirst, I say to my students, forget that you have that, the public. Very few of them came to see you or your show, most of them are not even "theatre public"! Come with me, stay in the wing and listen. What do you hear? The street noise. This is nothing but a crowd. You have to turn into public, understand?108. Audience has to be lead down a hallway. Keep the audience wondering. If you come to a conclusion, you lose the audience!
One by one -- and all together (because they are the crowd with the crowd's instints). You have to transform them in audience, if you want to have public!
The audience and the public. It's never the same. It's now and here.
Don't panic! We got them in one place already. We arranged their position in such a way that they face th stage. Wait, we even to turn the lights off! Ah! Smart? Now we have to get them in the same time! Dramatic, subjective; so they feel as ONE. We already have in the PRESENT!
More! We have lights to move their attention from one spot to another, we have the set, the constumes! Oh, we have the power to take them by the nose, to glew their eyes and grab their minds and hearts -- like that! Of course, if we know how to do it. I mean, the lights, the play, the costiumes, the set -- and the acting too.
And then MANY become ONE...
So, when the one becomes many?
Spectator is the Audience of One....
Well, you see, this one is in fact the MANY.
That is why I, the director, represent One and Many at the same time.
The theatrical situation itself doubles me; without losing my real identity I get many new ones. I multiply!
I identify myself with hero, with his enemies, with everybody....
That's right, Theatre starts with One Watching It!
PS"There are three kinds of readers: the first group enjoys without judgement; the third judges without enjoyment; the second judges with enjoyment: this is the group that, properly speaking, recreates the work of art." Goether. Spectator II Directory Intro
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2007-2008 2004 & AfterChekhov, Ibsen, Shakespeare
in focus: StageMatrix
reading: see BOOKS pages in all directories
Book of Spectator
100. Audience can't be told what to think and feel... No Brecht? Even as a game?
86. Audience must be guided... We call it "directions"!
Yes, he, spectator, must be in a driver' seat. You, invisible, next to him. :)
Quotes & Thoughts:
Film-North * Anatoly Antohin
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