In the New York Times, Charles Isherwood considers what gets lost in interactive theatre when the barrier between ‘them’ and ‘us’ is dissolved. The first casualty appears to be what-happens-next: ‘it is not easy to communicate complex narrative to a fragmented audience.’ The second is the audience thinks about itself rather than the performance.
The Artful Manager notes the issue goes wider than theatre: ‘all roads in the lively arts seem to be moving toward more visibly active audiences, less traditional audience chambers, and less sitting quiet in the dark.’
An ex-vaudevillian follows up AM’s post by recommending a first-rate piece by journalist Gene Weingarten, which follows the fortunes of a world-class violinist as he busks unrecognised and unloved to early-morning commuters in a Washington metro station. (Some people did flip him a quarter.)
In the performer/audience relationship, it seems (and here, Kant is cited as an authority), context is all.
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Unexpected appearance sparks rush to catch it in a trash can as it hides at
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Passengers awaiting an early morning flight a...
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