Abstract
Although text may exist without a reader, it is hard to imagine theatrical performance surviving long without an audience. In the last chapter, we spoke of the way in which performance denotes or imitates, among other things, the world of its audience. We now turn our attention to a second aspect of this relationship between stage and auditorium, namely the effect of performance on audience and, contrariwise, of audience on performance.
This is a preview of subscription content, log in via an institution.
Buying options
Tax calculation will be finalised at checkout
Purchases are for personal use only
Learn about institutional subscriptionsPreview
Unable to display preview. Download preview PDF.
Notes
W. K. Wimsatt and M. C. Beardsley, The Verbal Icon (Lexington: University of Kentucky Press, 1954), pp. 21, 28.
H. Richter, Dada: Art and Anti-art (New York: Harry N. Abrams, 1965) pp. 77–80.
S. H. Butcher, Aristotle’s Theory of Poetry and Fine Art, 4th edn, 1911 (New York: Dover, 1951) p. 23.
J. Dryden, ‘An Essay of Dramatick Poesie’, 1668, in B. H. Clark (ed.), European Theories of the Drama (New York: Crown, 1947) p. 176.
A. Artaud, Selected Writings, ed. S. Sontag, trans. H. Weaver (New York: Farrar, Strauss and Giroux, 1976) pp. 155–7.
P. Brook, The Empty Space (New York: Avon/Discus, 1968) pp. 20–1.
L. Morris, The Gospel According to John (Grand Rapids: Eerdmans, 1971) pp. 420–2;
F. L. Godet, Commentary on John’s Gospel, 1886 (Grand Rapids: Kregel, 1978) pp. 634–6.
M. Nussbaum, The Fragility of Goodness (Cambridge: Cambridge University Press, 1986) p. 131.
W. Prynne, Historiomastix (London, 1633), quoted in Barish, op. cit., p. 91. I have modernised spelling and punctuation.
U. Wilckens, ‘υπoκρίνoμαι …’, Theological Dictionary of the New Testament, eds. G. Kittel and G. Friedrich, trans. G. W. Bromiley, 10 vols. (Grand Rapids: Eerdmans, 1964–76) VIII, p. 559.
P. Stubbes, The Anatomie of Abuses (London, 1583) p. 102, quoted in O’Connell, op. cit., p. 10.
K. Barth, Wolfgang Amadeus Mozart, trans. C. K. Pott (Grand Rapids: Eerdmans, 1986) p. 16.
K. Barth, How I Changed My Mind (Richmond, Va.: John Knox Press, 1966) pp. 71–2.
Copyright information
© 1990 Max Harris
About this chapter
Cite this chapter
Harris, M. (1990). Performance and Audience. In: Theater and Incarnation. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-09697-8_4
Download citation
DOI: https://doi.org/10.1007/978-1-349-09697-8_4
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-09699-2
Online ISBN: 978-1-349-09697-8
eBook Packages: Palgrave Literature & Performing Arts CollectionLiterature, Cultural and Media Studies (R0)