ABSTRACT
Chapter 6 analyses the relationships of various audiences to the performance of Izithombe 2094 and what the audience–play–place relationality exposed of placemaking in Bertrams. It starts with a delineation between a public art audience and a theatre audience for the play. The chapter unpacks the productive interrelation between the two audiences and the play in the Izithombe 2094 performances to understand how the audience was critical to using theatre as a spatial practice that would heighten audiences’ self-awareness of their own daily spatial practices. The second half of the chapter analyses four specific audiences to detail the general effects of the audience–play–place relationship through a grounding in the nuances of the particular.
