Thesis-1990-Pinchen.pdf (15.62 MB)
The audience as critic: a study of audience responses to popular theatre
thesis
posted on 2010-11-02, 11:09 authored by Jennifer E. PinchenTo begin with, the role of theatre, and especially popular theatre, is
contextualised within the theory of art and society and the debate about
'popular' and 'mass' culture. The thesis attempts to reassess the
possibilities for positive and dynamic relations between audience and
theatre within this context, through an investigation of some actual
relationships between them. What is defined as 'mainstream' theatre is
the basis of the research. The three major productions studied are A Day
in the Death of Joe Egg by Peter Nichols, Bloody Poetry by Howard
Brenton, and Blood Brothers by Willy Russell. Qualitative research on
audience responses for each play resulted in 37 in-depth interviews.
A chapter is devoted to the problem of methodology for such a
qualitative study; in particular, to the lack of any model method for
analysis. The interview material is presented and discussed play by
play. Initially, a broad 'consensus' view of each play, provides a
background to the description and analysis of responses. Analysis is
carried out under the headings of different 'cultural profiles',
determined in relation to the play as 'accordant', 'discordant' or
'neutral' in orientation. The influences of such cultural profiles are
shown in some cases to predetermine the perceived meaning or effect of
the play, independently of the executants' intentions. Some responses
are more readily understood as determined most importantly by a personal
'inner history', which can be even more resilient to change. Despite the
predominance of habitual notions, it is found that particular kinds of
theatrical technique are more successful than others in overriding
biases corresponding to cultural profile. This is especially true of
theatricality which raises the emotional identification of respondents
with characters or events on stage without mobilising stereotypes.
Findings indicate the importance of the cultural profile and personal
history of audiences in any theory of the theatre's social function. The
innate conservatism which characterises cultural profiles is seen to be
a crucial factor. Conclusions suggest a need for models which do not
rely on preconceptions or hidden assumptions about audience response. In
addition, the emphasis which emerges on the autonomy of audience as
critic and creator raises questions about the function and aspirations
of certain types of theatre.
History
School
- The Arts, English and Drama
Department
- English and Drama
Publisher
© Jennifer E. PinchenPublication date
1990Notes
A Doctoral Thesis. Submitted in partial fulfillment of the requirements for the award of Doctor of Philosophy of Loughborough University. If you are the author of this thesis and would like to make it openly available in the Institutional Repository please contact: repository@lboro.ac.ukEThOS Persistent ID
uk.bl.ethos.279324Language
- en