ABSTRACT

The Problems of Viewing Performance challenges long-held assumptions by considering the ways in which knowledge is received by more than a single audience member, and breaks new ground by, counterintuitively, claiming that viewing performance is not a shared experience.

Given that viewers come to each performance with differing amounts and types of knowledge, they each make different assumptions as to how the performance will unfold. Often modified by other viewers and often after the performance event, knowledge of performance is made more accurate by superimposing the experiences and justified beliefs of multiple viewers. These differences in the viewing experience make knowledge surrounding a performance intersubjective. Ultimately, this book explains the how and the why audience members have different viewing experiences.

The Problems of Viewing Performance is important reading for theatre and performance students, scholars and practitioners, as it unpacks the dynamics of spectatorship and explores how audiences work.

chapter |9 pages

Introduction

Viewing and understanding performance: in light of other minds

part |28 pages

Part I

chapter 1|8 pages

A public experience

But is it shared…?

chapter 2|11 pages

Knowledge, (dis)agreement, and other minds

chapter 3|7 pages

A public reality of one’s own

part |80 pages

Part II

chapter 4|9 pages

Epistemic problems

Hamlet and Horatio’s “Hamlet” … in light of other minds

chapter 5|24 pages

Temporal-spatial problems

Border progressions and locating the self: mobility and immobility in Le Jeu de Saint Nicolas and The Castle of Perseverance

chapter 6|15 pages

Contextual problems

Witting and unwitting contexts: translating public and private experience in Tony Kushner’s Homebody/Kabul

chapter 7|18 pages

Lingual problems

(Private and public) performances of the self: the performance of language (and the self) in Susan Jahoda’s Flight Patterns

chapter 8|12 pages

Emotional problems

Breathing in Maria Irene Fornes’ “sharper air” in her “PAJ plays”

chapter |4 pages

Conclusion

Viewing … or, turning away: upending the ‘gaze,’ upending the subject