Abstract
For those who are wary of theory, this assertion may cause a sigh of relief; after all, the relationship between theory and practice is often perceived as tenuous. But Eagleton continues to point out that the decline of theorists doesn’t mean we can go back to the age of pre-theory innocence-on the contrary, although new theorists and theories may not be visible on the horizon, we are doomed to continue to expand and apply the theories of the Golden Age: “If theory means a reasonably systematic reflection on our guiding assumptions, it remains as indispensable as ever” (2).
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Notes
Bourdieu of course is speaking about a particular kind of culture, the dominant social class in a capitalist culture. For more about Bourdieu’s work as a context for examining the impact of social-class positions, see Annette Lareau, Unequal Childhoods: Class, Race and Family Life (Berkeley: University of California Press, 2003).
For the Incorporation/Resistance Paradigm, which recognizes the problem and the debate of audience research in whether the audiences are hailed by dominant ideologies or resistant to them, see Nicholas Abercrombie and Brian Longhurst, Audiences (Thousand Oaks: Sage, 1998: 15–36); for the Spectacle/Performance Paradigm, which is a response to changes in the nature of the audience and the experience as an audience member, see Abercrombie and Longhurst, Audiences 37–76; 159–179. It needs to be noted that Audiences focuses on electronic mediation and reception, rather than performance audiences.
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© 2012 Manon van de Water
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van de Water, M. (2012). Theory and Theatre for Young Audiences: Marginalization and Cultural Production. In: Theatre, Youth, and Culture. Palgrave Studies in Theatre and Performance History. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137056658_3
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DOI: https://doi.org/10.1057/9781137056658_3
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