By Susan Kattwinkel
Scholarly paintings at the effect of an lively viewers on theatrical and dance functionality is a comparatively new phenomenon, one who formerly has manifested itself principally within the kind of scattered discussion at the topic. Audience Participation: Essays on Inclusion in Performance serves as a corrective to this. whereas the passive viewers has lengthy been said in works on reaction concept and viewers stories for its contribution to the functionality occasion, functionality types that use the viewers as an energetic contributing inventive strength were appended to the reviews as only diversifications on a theme.
This anthology brings jointly essays on direct viewers participation within the paintings of fourteen extensively diverse theatrical and dance artists, masking functionality genres of the previous and current, renowned leisure and excessive artwork. Its comprehensiveness and specialty make it an immense contribution to the literature on theater and its many varieties and facets.
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Additional resources for Audience Participation: Essays on Inclusion in Performance
28 Unlike some of their more polemical earlier works, the ensemble’s production of Utopia offered no concrete statement as to how utopia could be achieved. Instead, as with the most penetrating aspects of Anarchia, the company engaged each other, and the audience, in an open-ended dialogue as to how each of us can stay open to the possibilities of our “deepest desires,” and within that exploration perhaps ﬁnd the basis of our own personal utopias. Both works received a generally more positive reception in the New York City theatre community than previously discussed Living Theatre productions, which can be explained, perhaps, by their absorption of some of the postmodern currents that affected various realms of avant-garde performance after the 1960s.
The lack of support for such a mission, of course, had been a major issue in 36 AUDIENCE PARTICIPATION the decline in popularity among audiences and lack of critical support for The Living Theatre’s work here since 1984. 31. Not in My Name: A Protest Play Against the Death Penalty. The Living Theatre. Times Square, New York, Spring 1998; ﬂyer, 1994 (personal collection of the author). 32. Ed Morales, “Strange Daze,” Review of Utopia, by Hanon Reznikov, as performed by The Living Theatre, New York.
Dennis Porter, ed. W. Norton & Company, 1997). 21. Although a great deal of importance must be placed on the speciﬁcs of these 14 AUDIENCE PARTICIPATION retellings within the world of the evening, I believe that given the nature of this essay, it is the structure of the retelling that matters rather than the details. 22. In this chapter, I use the terms “Other” and “other” following from the distinctions developed by Levinas. 23. Emmanuel Levinas, Totality and Inﬁnity, trans. : Duquesne University Press, 1969), 38.