2006
DOI: 10.1386/stap.26.2.129/1
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Young audiences and live theatre, Part 1: Methods, participation and memory in audience research

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Cited by 12 publications
(12 citation statements)
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“…The materials we discuss here draw on the audience research data gathered by this project through a range of qualitative approaches-including interviews, focus groups, and creative techniques-that involved in-depth engagement with relatively small numbers of individuals in order to gain a nuanced and detailed understanding of their experiences and responses to dance performances. One of the primary objectives of all qualitative audience research is to elicit talk from participants, providing circumstances where they can respond to their experiences in their own words and in an open manner (see, for example, Geraghty 1998;Reason 2006;Schoenmakers 1990). In addition, at times we introduced more structured elements, using prepared questions focusing on particular areas of interest, such as music or embodied responses.…”
mentioning
confidence: 99%
“…The materials we discuss here draw on the audience research data gathered by this project through a range of qualitative approaches-including interviews, focus groups, and creative techniques-that involved in-depth engagement with relatively small numbers of individuals in order to gain a nuanced and detailed understanding of their experiences and responses to dance performances. One of the primary objectives of all qualitative audience research is to elicit talk from participants, providing circumstances where they can respond to their experiences in their own words and in an open manner (see, for example, Geraghty 1998;Reason 2006;Schoenmakers 1990). In addition, at times we introduced more structured elements, using prepared questions focusing on particular areas of interest, such as music or embodied responses.…”
mentioning
confidence: 99%
“…specific atmosphere, lightening, clothing, objects on stage and their arrangement, tempo, complexity, type of movements, and so on; cf. Butterworth & Wildschut, 2009;Christensen & Jola, 2015;Reason, 2006).…”
Section: Discussionmentioning
confidence: 99%
“…Previous studies specified many elements of live performance (e.g. lighting, scenography, space, personal dancer-audience communication, and so on) which are lost when the dance is watched on film (McConachie, 2008;Reason, 2006;Reason & Reynolds, 2010). In other words, live dance performance induces stronger emotional experience, attracts more attention and induces higher motivation for watching the performance (Reason & Reynolds, 2010).…”
Section: Discussionmentioning
confidence: 99%
“…For theatre see e.g. Sauter 2000;Barker 2003;Tulloch 2000Tulloch , 2005Reason 2004Reason , 2006aReason , 2006bReason , 2008Reason , 2010aReason , 2010bSedgman 2016 Barker 2012Barker , 2013Radbourne, Johanson and Glow 2013. plays 4,425,220 and £149,446,286 respectively (2015: 2). In fact, in his muchquoted 'Toward a Historiography of the Popular', David Savran (2004) infamously suggested that it is musicals' very popularity that has historically led to the dearth of critical attention.…”
Section: The Tony Awards and 'Big Broadway'mentioning
confidence: 99%