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Authors: ALEX CAHILL.
VIEW PDF: THE THEATRICAL DOUBLE REFLEXIVITY COMPLEX: HOW THE SPECTATOR CREATES METATHEATRE
“The Theatrical Double Reflexivity Complex” explores the possibility of the spectator’s presence and influence in altering the style of a theatrical production during a performance. The author focuses on African American audiences in American theatre as the primary subject of this phenomenon and claims that by incorporating their own reality into the world of the play, the spectators can force a play to become metatheatrical regardless of the actors’ or director’s initial intent. Beginning with the initial assumption of what we, as theatre artists, expect from our audience, this article explores the results of what occurs when an audience does not conform to the specific style set forth. In doing so, this article examines the engagement of the spectator as character and instigator by providing a new theory to the world of metatheatrical theory – the possibility of the Theatrical Double Reflexivity Complex.
Keywords: spectator, metatheatre, reflexivity, theatre/drama.
References:
Abel, Lionel. Metatheatre: A New View of Dramatic Form. New York: Hill and Wang, 1963.
Abercrombie, Nicholas and Brian Longhurst. Audiences: a sociological theory of performance and imagination. London: Sage, 1998.
Adler, Thomas P. Mirror on the stage: the Pulitzer plays as an approach to American Drama. West Lafayette, IN: Purdue University Press, 1987.
Azar, Beth. “How mimicry begat culture.” American Psychological Association. (October 2005) Vol. 36, no. 9. Accessed 25 August 2015. http://www.apa.org/monitor/oct05/mimicry.aspx.
Baldwin, James. The Amen Corner. New York: Samuel French, 1968.
Bennett, Susan. Theatre Audiences: A theory of production and reception. London: Routledge, 1997.
Berger, Peter L. and Thomas Luckmann. The Social Construction of Reality. Garden City, NY: Doubleday &Company, 1966.
Berne, Eric. Beyond Games and Scripts. New York: Grove Press, 1976.
Blau, Herbert. The Audience. Baltimore: The Johns Hopkins University Press, 1990.
Cornwell, Nancy C. and Mark P. Orbe. “’Keepin’ It Real’ and/or ‘Sellin’ Out to the Man’: African-American Responses to Aaron McGruder’s The Boondocks.” In Say It Loud!: African American Audiences, Media, and Identity, edited by Robin R. Means Coleman, 27-44. New York: Routledge, 2002.
Davies, David. Philosophy of the Performing Arts. Oxford: Wiley-Blackwell, 2011.
-“The Demographics of the Broadway Audience 2013-2014.” The Broadway League. Accessed 20 July 2015. http://www.broadwayleague.com/index.php?url_identifier=the-demographics-of-the-broadway-audience.
Dingfelder, Sadie F. “Autism’s smoking gun?” American Psychological Association. (October 2005) Vol. 36, no. 9. Accessed 25 August 2015. http://www.apa.org/monitor/oct05/autism.aspx.
Estes, David C. “An Interview with James Baldwin.” In Conversations with James Baldwin, edited by Fred L. Standley and Louis H. Pratt, 270-80. Jackson, MS: University Press of Mississippi, 1989.
Felner, Mira and Orenstein, Claudia. The World of the Theatre: Tradition and Innovation. Boston: Allyn and Bacon, 2006.
Goffman, Erving. The Presentation of Self in Everyday Life. Woodstock, NY: Overlook Press, 1973.
Gross, Robert F., ed. Tennessee Williams: a casebook. New York: Routledge, 2002.
Hare, A. Paul. Social Interaction as Drama. Beverly Hills, CA: SAGE Publications, 1985.
Hay, Samuel. African American Theatre: An Historical and Critical Analysis. Cambridge: Cambridge University Press, 1994.
Homan, Sidney. The Audience as Actor and Character: The Modern Theatre of Beckett, Brecht, Genet, Ionesco, Pinter, Stoppard, and Williams. London: Associated Universities Press, 1989.
Hornby, Richard. Drama, Metadrama, and Perception. London: Associated Universities Presses, 1986.
Jag, Jan, ed. Psychoanalyzing cinema: a Productive Encounter with Lacan, Deleuze, and Zizek. New York: Palgrave Macmillan, 2012.
Kennedy, Dennis. The Spectator and the Spectacle: Audiences in Modernity and Postmodernity. Cambridge: Cambridge University Press, 2009.
Kershaw, Baz. Theatre Ecology. Cambridge: Cambridge University Press, 2007.
Lewandowski, Joseph D. Interpreting Culture: Rethinking Method and Truth in Social Theory. Lincoln, NE: University of Nebraska Press, 2001.
Occupy Austin Reading Group. “Amiri Baraka, ‘Slave Ship.’” Accessed 10 May 2013. http://occupyaustinreadinggroup.wordpress.com/2011/11/18/amiri-baraka-slave-ship/.
Pratt, Louis H. James Baldwin. Boston: Twayne Publishers, 1978.
Sayles, Tamika. “Black Audiences Should Feel Included Rather than Targeted: What is the Theatre Industry Doing to Reach Them?” Huffington Post (5 August 2012). Accessed 5 May 2013. http://www.huffingtonpost.com/tamika-sayles/black-theatre audiences_b_1739184.html.
Mayo, Simon. The Audience and the Playwright: How to Get the Most Out of Live Theatre. New York: Applause Theatre and Cinema Books, 2003.
“The Make-Up of Broadway’s Audience.” In the Shadows of Broadway. Accessed 7 May 2013. http://www.shadowsofbroadway.com/audience-article/.
Winerman, Lea. “The mind’s mirror.” American Psychological Association. (October 2005) Vol. 36, no. 9. Accessed 25 August 2015. http://www.apa.org/monitor/oct05/mirror.aspx.
Worthen, W.B. “Disciplines of the Text: Sites of Performance.” In The Performance Studies Reader, edited by Henry Bial, 10-25. New York: Routledge, 2004.
Young, T.R. The Drama of Social Life: Essays in Post-Modern Social Psychology. New Brunswick: Transaction, 1990.
Published Online: 2015-10
References:
Abel, Lionel. Metatheatre: A New View of Dramatic Form. New York: Hill and Wang, 1963.
Abercrombie, Nicholas and Brian Longhurst. Audiences: a sociological theory of performance and imagination. London: Sage, 1998.
Adler, Thomas P. Mirror on the stage: the Pulitzer plays as an approach to American Drama. West Lafayette, IN: Purdue University Press, 1987.
Azar, Beth. “How mimicry begat culture.” American Psychological Association. (October 2005) Vol. 36, no. 9. Accessed 25 August 2015. http://www.apa.org/monitor/oct05/mimicry.aspx.
Baldwin, James. The Amen Corner. New York: Samuel French, 1968.
Bennett, Susan. Theatre Audiences: A theory of production and reception. London: Routledge, 1997.
Berger, Peter L. and Thomas Luckmann. The Social Construction of Reality. Garden City, NY: Doubleday &Company, 1966.
Berne, Eric. Beyond Games and Scripts. New York: Grove Press, 1976.
Blau, Herbert. The Audience. Baltimore: The Johns Hopkins University Press, 1990.
Cornwell, Nancy C. and Mark P. Orbe. “’Keepin’ It Real’ and/or ‘Sellin’ Out to the Man’: African-American Responses to Aaron McGruder’s The Boondocks.” In Say It Loud!: African American Audiences, Media, and Identity, edited by Robin R. Means Coleman, 27-44. New York: Routledge, 2002.
Davies, David. Philosophy of the Performing Arts. Oxford: Wiley-Blackwell, 2011.
-“The Demographics of the Broadway Audience 2013-2014.” The Broadway League. Accessed 20 July 2015. http://www.broadwayleague.com/index.php?url_identifier=the-demographics-of-the-broadway-audience.
Dingfelder, Sadie F. “Autism’s smoking gun?” American Psychological Association. (October 2005) Vol. 36, no. 9. Accessed 25 August 2015. http://www.apa.org/monitor/oct05/autism.aspx.
Estes, David C. “An Interview with James Baldwin.” In Conversations with James Baldwin, edited by Fred L. Standley and Louis H. Pratt, 270-80. Jackson, MS: University Press of Mississippi, 1989.
Felner, Mira and Orenstein, Claudia. The World of the Theatre: Tradition and Innovation. Boston: Allyn and Bacon, 2006.
Goffman, Erving. The Presentation of Self in Everyday Life. Woodstock, NY: Overlook Press, 1973.
Gross, Robert F., ed. Tennessee Williams: a casebook. New York: Routledge, 2002.
Hare, A. Paul. Social Interaction as Drama. Beverly Hills, CA: SAGE Publications, 1985.
Hay, Samuel. African American Theatre: An Historical and Critical Analysis. Cambridge: Cambridge University Press, 1994.
Homan, Sidney. The Audience as Actor and Character: The Modern Theatre of Beckett, Brecht, Genet, Ionesco, Pinter, Stoppard, and Williams. London: Associated Universities Press, 1989.
Hornby, Richard. Drama, Metadrama, and Perception. London: Associated Universities Presses, 1986.
Jag, Jan, ed. Psychoanalyzing cinema: a Productive Encounter with Lacan, Deleuze, and Zizek. New York: Palgrave Macmillan, 2012.
Kennedy, Dennis. The Spectator and the Spectacle: Audiences in Modernity and Postmodernity. Cambridge: Cambridge University Press, 2009.
Kershaw, Baz. Theatre Ecology. Cambridge: Cambridge University Press, 2007.
Lewandowski, Joseph D. Interpreting Culture: Rethinking Method and Truth in Social Theory. Lincoln, NE: University of Nebraska Press, 2001.
Occupy Austin Reading Group. “Amiri Baraka, ‘Slave Ship.’” Accessed 10 May 2013. http://occupyaustinreadinggroup.wordpress.com/2011/11/18/amiri-baraka-slave-ship/.
Pratt, Louis H. James Baldwin. Boston: Twayne Publishers, 1978.
Sayles, Tamika. “Black Audiences Should Feel Included Rather than Targeted: What is the Theatre Industry Doing to Reach Them?” Huffington Post (5 August 2012). Accessed 5 May 2013. http://www.huffingtonpost.com/tamika-sayles/black-theatre audiences_b_1739184.html.
Mayo, Simon. The Audience and the Playwright: How to Get the Most Out of Live Theatre. New York: Applause Theatre and Cinema Books, 2003.
“The Make-Up of Broadway’s Audience.” In the Shadows of Broadway. Accessed 7 May 2013. http://www.shadowsofbroadway.com/audience-article/.
Winerman, Lea. “The mind’s mirror.” American Psychological Association. (October 2005) Vol. 36, no. 9. Accessed 25 August 2015. http://www.apa.org/monitor/oct05/mirror.aspx.
Worthen, W.B. “Disciplines of the Text: Sites of Performance.” In The Performance Studies Reader, edited by Henry Bial, 10-25. New York: Routledge, 2004.
Young, T.R. The Drama of Social Life: Essays in Post-Modern Social Psychology. New Brunswick: Transaction, 1990.
Published Online: 2015-10
