Suvremeno kazalište i publika ili od prezira publike do opravdanja njezinog bijega (CROSBI ID 643694)
Prilog sa skupa u časopisu | izvorni znanstveni rad | domaća recenzija
Podaci o odgovornosti
Sanja Nikčević
hrvatski
Suvremeno kazalište i publika ili od prezira publike do opravdanja njezinog bijega
The role of the audience in the theatre dramatically changed from equal participants in periods of ritual theatre (Classicism, Middle Ages) to the so-called “imitating” periods (Renaissance and Neoclassicism) where audience needed specialized knowledge to watch a play. The twentieth century deepened the gap between mainstream theatre and audience completely. Since directors'/ post dramatic theatre, which is for the most part violent, shocking and non-communicative, started dominating the mainstream theatre, audience started protesting. Mainstream theatre and theory reacted promptly and declared audience incompetent calling them “backward, uneducated and uninformed". In response, audience started leaving theatre in eighties which seriously worried financiers but not theatres. To avoid complaints about lack of audience directors cut down theatre auditoriums, searched for new (smaller) facilities, justified a small number of performances by co productions, and sometimes manipulated with audience number data.
Kazališna publika; Hrvatsko kazalište; postmoderno kazaište; dvadeseto stoljeće
nije evidentirano
engleski
Contemporary Theatre and Audience or from Audiences' Loath to Justification of Its Runaway
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Theatre Audience; Croatian theatre; Postmodern theatre; twenty century
nije evidentirano
Podaci o prilogu
149-173.
2016.
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objavljeno
Podaci o matičnoj publikaciji
Dani Hvarskog kazališta
Boris Senker
Zagreb : Split: Hrvatska akademija znanosti i umjetnosti (HAZU) ; Književni krug Split
1849-0158
Podaci o skupu
43. Dani Hvarskoga kazališta. Pučko i popularno
predavanje
11.05.2016-14.05.2016
Hvar, Hrvatska