Difference between revisions of "Broth2002"
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| Broth2002 | |
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| BibType | PHDTHESIS |
| Key | Broth2002 |
| Author(s) | Mathias Broth |
| Title | Agents secrets Le public dans la construction interactive de la représentation théâtrale |
| Editor(s) | |
| Tag(s) | EMCA, Romance languages - general, Theatre performance, acting, audience, collective response, conversation analysis, coughing, gesture, institutional interaction, laughter, listening, official and unofficial actions, projection, silence, throat-clearing, turntaking |
| Publisher | Acta Universitatis Upsaliensis. |
| Year | 2002 |
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| URL | Link |
| DOI | |
| ISBN | 9155454011 |
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Abstract
The present study focusses on the theatre audience, and on its’ role in the maintenance of the theatrical situation. Using video-recorded performances of relatively naturalistic, modern dramas, the study examines the behaviour of the audience in relation to the unfolding of stage events. Such behaviour is described through close inspection of the sounds the audience produces, consisting primarily of coughing, throat-clearing, and laughter. The study contributes to the growing body of research surrounding ethnomethodological conversation analysis (CA). CA methods are used to analyse not only an audience’s overt reactions to stage events, but also the actions occurring outside these relatively short-lived phenomena in the context of a theatre performance. It is demonstrated that members of the audience refrain from making « vocal noise » during the verbal interaction of actors, and some of the resources used to achieve this end are described. These include the interpretation of the emerging dialogue, of the relative positioning of actors and of the actors’ use of gesture. Members of the audience are observed making vocal noise around possible completions in the sequence of ongoing stage actions, a placing which seems to make it maximally unobtrusive. Furthermore, the audience’s laughter is described. It is argued that members of the audience negociate collective moments of laughter with each other and with the actors. In doing so, the audience displays a sensitive awareness of the other members of the audience and the performers on stage. It is finally suggested that vocal noise on one hand and laughter on the other are differently placed in relation to an emerging action. This relative placing seems to indicate their producers’ different orientations to these actions, according to which vocal noise is to be hidden and laughter to be taken as an overt reaction.
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