ABSTRACT
Co-creation takes numerous forms in the playhouse. One of the most discussed in theatre scholarship is cognitive co-creation through meaning making. I am more concerned with the gestural, verbal and paralingual performance of co-creation. The metaphor of electricity to describe the actor's and audience member's live, magnetic performance used widely in the nineteenth century continues in this twenty-first century. Sartre argues that it is the audience that works with the author to bring about the transformation. Houghton calls theatre an analogue experience for this very reason. Actors and audience members describe this reciprocity as an interchange. Globe audiences perform in response to sometimes overt but predominantly implicit invitations from the actors and from what can be seen as a more intuitive historical invitation. Journalist Georgina Brown noted in a 2000 review that if audience sits in the stalls, there's a lot of drama to take in before they come to the stage itself.
