E - portfolio:
Dún Laoghaire Institute of Art, Design and Technology
Masters of Cultural Event Management:
Working Thesis title:
Performing Arts & Participation: A case study of the Be SpectACTive! project Dublin : assessing the levels of interaction and social cohesion between participants within the theatre workshop process
Performing Arts, participation, interaction & social cohesion
Chapter 1: Breaking the fourth wall: historical overview: key ideas
Performing Arts & Participation: A mixed research study of Be SpectACTive!: assessing the levels of social interaction and social cohesion between participants within the theatre workshop process
Performing Arts, Participation, Interaction & Social Cohesion
“sit-back-and-be-told culture” to “making-and-doing-culture.”
(Alan S. Brown et al: 2011:3).
Theories of spectatorship Irish Cultural Policy
Qualitative & Quantitative surveys. first person account: diary
My Research Objective:
To evaluate the levels of social cohesion and interaction between participants within theatre workshop process a contribution to Be SpectACTive!’s larger self - evaluation project.
To couch this research within the larger context of theories of spectatorship and Irish cultural policy
How to measure and evaluate the levels of social cohesion and social interaction between participants within the theatre workshop process? - did this project deliver on its mission statement? - How?
What do these findings suggest in terms of the ongoing relationship between the artist and workshop participants?
How to contextualise Be SpectACTive! within the field of a) Theories of spectatorship b) Irish cultural policy?
Theories of spectatorship
Democratisation & participation of art within Irish cultural policy
Methodologies of measuring & evaluating social interaction & social cohesion
The tradition of participatory arts is couched within the theories of spectatorship that express itself in Irish cultural policy in terms of democratisation and access to culture. Theories of spectatorship refer to the historical repositioning of the actor - audience relationship to encourage; The Emancipated Spectator. The Be SpectACTive!’ project can be framed within this context and seen as demand for active participation in culture; from passive consumers to creators of cultures. This marks a shift from “sit-back-and-be-told culture” to “making-and-doing-culture.” (Alan S. Brown et al: 2011:3). This participatory shift comes about within the theatre workshop process where the artist works with participants to cultivate social interaction and social cohesion within the group. These two qualities of social interaction and social cohesion can be quantified. These insights can contribute to Be SpectACTive!’ in its larger self - evaluation project and has implications for the ongoing relationship between the artist and participants.
Mixed research: case study
Qualitative & Quantitative surveys.
Creative Diary: first person phenomenological account.
Reading of relevant literature: theories of spectatorship, participation and democratisation of art within Irish cultural policy, social interaction and social cohesion
Glossary of terms
Suggested thesis structure:
12, 000 words
Chapter 1: Context: A general overview of theories of spectatorship : 1000 words
Rancière: The Emancipated Spectator:
Plato & Aristotle disagree
Guy Debord’s ‘Society of the Spectacle’
Antonin Artaud: A different kind of spectacle: Theatre of Cruelty & joining the magic circle
Brecht: rejection of Aristotle’s Theatre in favour of the V - effect: Verfremdungseffekt:
Boal: Theatre of the Oppressed: Spec - Actor: Form Theatre: Invisible Theatre: post - Brechtian, non - Aristotelian Theatre: Rehearsal for Revolution.
Bonet L & Calvano G et al, (2018) Be SpectACTive! : Challenging Participation in Performing Performing Arts, Editoria & Spettacolo, Italy
Bonet L & Négrier L et al (2018): Be SpectACTive!: Breaking the Fourth Wall: Proactive Audiences in the Performing Arts Report, Kunnskapsverket, University of Barcelona
Rancière, J. (2011). The emancipated spectator. London: Verso.
Bishop, C. (2006). Participation. Cambridge: Whitechapel.
Bishop, C. (2012). Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso.
Freshwater, H. (2009). Theatre & audience. London: Palgrave Macmillan.
Brown, A.S.; Novak-Leonard, J.L. & Gilbride, S. (2011). Getting in on the act: How arts groups are creating opportunities for active participation. San Francisco, CA: The James Irvine Foundation.
Chapter 2: Context: A general overview of participation in Irish cultural policy: 1000 words
Democratisation and participation in culture
Department of Arts, Heritage, Regional, Rural and Gaeltacht Affairs (2016) Culture 2025: A Framework Policy to 2025, Dublin
Department of Arts, Heritage, Regional, Rural and Gaeltacht Affairs (2016) Culture 2025: Discussion Document, Dublin
Arts Council Ireland (2015) Making Great Art Work; Leading the Development of the Arts in Ireland, Dublin
(Chapter 1 & 2 intend to situate Be SpectACTive! within a general context of theatre, audience & Irish cultural policy. This is not an in depth evaluation but a description that frames the following chapters.)
Chapter: 3: Social interaction & Social cohesion: definitions & discussion: 3000 words
Chapter 4: Methodology: measuring social interaction & social cohesion: 3000 words
Brown, A.S. & Novak-Leonard, J.L. (2007). Assessing the intrinsic impacts of a live performance. San Francisco, CA: WolfBrown.
Chapter 5: Findings: evaluation of the data: 3000 words
Chapter: 6: Conclusions & Recommendations: 1000 words