Performance, Experience, Transformation : What do Spectators Value in Theatre? / Megson, Christopher; Reinelt, Janelle .

In: Journal of Contemporary Drama in English, Vol. 4, No. 1, 01.05.2016, p. 227-242.

Research output: Contribution to journalArticlepeer-review

Published

Standard

Performance, Experience, Transformation : What do Spectators Value in Theatre? / Megson, Christopher; Reinelt, Janelle .

In: Journal of Contemporary Drama in English, Vol. 4, No. 1, 01.05.2016, p. 227-242.

Research output: Contribution to journalArticlepeer-review

Harvard

Megson, C & Reinelt, J 2016, 'Performance, Experience, Transformation: What do Spectators Value in Theatre?', Journal of Contemporary Drama in English, vol. 4, no. 1, pp. 227-242. https://doi.org/10.1515/jcde-2016-0017

APA

Vancouver

Author

Megson, Christopher ; Reinelt, Janelle . / Performance, Experience, Transformation : What do Spectators Value in Theatre?. In: Journal of Contemporary Drama in English. 2016 ; Vol. 4, No. 1. pp. 227-242.

BibTeX

@article{106cb2cb1bca45e08a2f695e96d1dfae,
title = "Performance, Experience, Transformation: What do Spectators Value in Theatre?",
abstract = "This article explores the findings of “Theatre Spectatorship and Value Attribution” (TSVA), a research project conducted by the British Theatre Consortium (BTC, a small think-tank of playwrights and theatre academics) in 2013–14. The project team developed partnerships with three theatres – the Young Vic, RSC, and Theatre Royal (Drum) in Plymouth – to investigate how spectators attribute value to the performances they see. Based on empirical research gathered through surveys but enhanced by additional data from interviews and creative workshops, TSVA revealed both the necessity and limitations of empirically based research methodologies. Quantitative research methods are helpful in the collation and mapping of demographic data on theatre audiences (age, gender, educational background, etc.); however, when research seeks to address processual activities rooted in phenomenological experience, qualitative method-ologies are especially useful. TSVA found strong evidence that spectators assign value to theatre as a result of the complex associations that emerge between the performance, their personal networks, and the larger public context; moreover, these values are liable to change over time. This article explores the methods, findings and implications of the TVSA project with reference to two production case studies at the Young Vic – Samuel Beckett{\textquoteright}s Happy Days (staged in 2014) and David Greig{\textquoteright}s The Events (2013).",
author = "Christopher Megson and Janelle Reinelt",
year = "2016",
month = may,
day = "1",
doi = "10.1515/jcde-2016-0017",
language = "English",
volume = "4",
pages = "227--242",
journal = "Journal of Contemporary Drama in English",
issn = "2195-0164",
publisher = "Walter de Gruyter GmbH",
number = "1",

}

RIS

TY - JOUR

T1 - Performance, Experience, Transformation

T2 - What do Spectators Value in Theatre?

AU - Megson, Christopher

AU - Reinelt, Janelle

PY - 2016/5/1

Y1 - 2016/5/1

N2 - This article explores the findings of “Theatre Spectatorship and Value Attribution” (TSVA), a research project conducted by the British Theatre Consortium (BTC, a small think-tank of playwrights and theatre academics) in 2013–14. The project team developed partnerships with three theatres – the Young Vic, RSC, and Theatre Royal (Drum) in Plymouth – to investigate how spectators attribute value to the performances they see. Based on empirical research gathered through surveys but enhanced by additional data from interviews and creative workshops, TSVA revealed both the necessity and limitations of empirically based research methodologies. Quantitative research methods are helpful in the collation and mapping of demographic data on theatre audiences (age, gender, educational background, etc.); however, when research seeks to address processual activities rooted in phenomenological experience, qualitative method-ologies are especially useful. TSVA found strong evidence that spectators assign value to theatre as a result of the complex associations that emerge between the performance, their personal networks, and the larger public context; moreover, these values are liable to change over time. This article explores the methods, findings and implications of the TVSA project with reference to two production case studies at the Young Vic – Samuel Beckett’s Happy Days (staged in 2014) and David Greig’s The Events (2013).

AB - This article explores the findings of “Theatre Spectatorship and Value Attribution” (TSVA), a research project conducted by the British Theatre Consortium (BTC, a small think-tank of playwrights and theatre academics) in 2013–14. The project team developed partnerships with three theatres – the Young Vic, RSC, and Theatre Royal (Drum) in Plymouth – to investigate how spectators attribute value to the performances they see. Based on empirical research gathered through surveys but enhanced by additional data from interviews and creative workshops, TSVA revealed both the necessity and limitations of empirically based research methodologies. Quantitative research methods are helpful in the collation and mapping of demographic data on theatre audiences (age, gender, educational background, etc.); however, when research seeks to address processual activities rooted in phenomenological experience, qualitative method-ologies are especially useful. TSVA found strong evidence that spectators assign value to theatre as a result of the complex associations that emerge between the performance, their personal networks, and the larger public context; moreover, these values are liable to change over time. This article explores the methods, findings and implications of the TVSA project with reference to two production case studies at the Young Vic – Samuel Beckett’s Happy Days (staged in 2014) and David Greig’s The Events (2013).

U2 - 10.1515/jcde-2016-0017

DO - 10.1515/jcde-2016-0017

M3 - Article

VL - 4

SP - 227

EP - 242

JO - Journal of Contemporary Drama in English

JF - Journal of Contemporary Drama in English

SN - 2195-0164

IS - 1

ER -