audience experience

… to perform
~ from the old French ‘parfourmir‘ meaning ‘to provide through… to provide for every…’
What might make performance that provides exceptional experience for its audiences?

…this space is a place to help me to explore + reflect + imagine + question + wonder through the ways i might un-cover re-cover dis-cover for making performances that thrill alive an audience’s emotions and imaginations……
… it is fed from my experiences…
~ as an audience;
~ as a performer;
~ as a performance making researcher;
~ as an enthusiast;
~ and through *watching *talking about *reading about *writing about *wondering about and *making…

mark trezona

london, march 2011

about audience experience

– what do we expect to get from the ‘live’ of performance?

Can a filmed show be as good as the real thing?

This Sunday Observer debate seeks to reawaken our public musings about what helps and hinders great audience experience at live performance.
Clunk. When is ‘performance‘ not ‘live‘? Surely ‘performance’ must by definition be ‘live‘?

In this article Hermione Hoby challenges this assumption, making much of the ‘live audience’ she experienced watching in New York the National Theatre’s broadcast of their Hamlet with Rory Kinnear.

I’m not so sure.  Is it not more significant that audience and performers are ‘breathing the same air’ as Mark Shenton says.

On Friday l lounged back in the airline seats of a little cinema in Leicester Square to watch the New Zealand movie ‘The Insatiable Moon’, and in the parts that didn’t work for me it was very easy to emotionally lounge back into a critical removed position too. When I experience performance that isn’t working for me I think I am more likely to lean in, to try and get closer to the performers and the performance in an attempt to get more inside what is happening.

I think.
I will watch and notice for this in the shows and movies I see over the coming weeks.

Samuel Johnson wrote: “A book should either allow us to escape existence or teach us how to endure existence.” Is this what we want from performance too?
Do we expect greater escape from watching a film than we do from performance?
Do we look more for insight about how to endure our lives from the performance we go to?

When we come away from a performance saying: “that was a great experience…” what do we mean?
What are we noticing and valuing?
Does our ‘great experience’ mean great enjoyment or greatly worthwhile?
Or – necessarily — both of these?

More questions than answers.
Our inquiry continues…

Do please feel welcome to join your thoughts and ideas in to these musings.
* What great experiences of performance have you had?
** And what made them successful?
*** As you enter a performance, what are you hoping for?

6 march 2011

mark trezona

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