Theorizing Audience and Spectatorial Agency

This chapter analyses Georgian audiences and spectatorial agency through several lenses: psychoanalytic film theory, theories of the public sphere and of mass publicity, and media studies of cultural convergence. The first section reads Georgian theatre’s heterogeneous playbills as a syntactical rendering of the audience, the imaginary community of the nation in process of negotiation. The second section shows theatrical paratexts blurring the boundary between theatre and coffee house, creating a theatrical public sphere in which the audience exercises daily public agency in saving or damning the play. The third section highlights the mingling of vulnerability and charisma in the celebrity prologue-speaker, a figure who both judges and entrances the audience while also embodying actors’ exposure to possible audience wrath. The final section looks at the theatres’ encouragement of spouting clubs as a means of channelling spectatorial agency

Madness in Shakespeare's major tragedies: a tentative analysis towards a laingian interpretation

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1980

The Anchor, Volume 105.02: September 9, 1992

The Anchor began in 1887 and was first issued weekly in 1914. Covering national and campus news alike, Hope College’s student-run newspaper has grown over the years to encompass over two-dozen editors, reporters, and staff. For much of The Anchor\u27s history, the latest issue was distributed across campus each Wednesday throughout the academic school year (with few exceptions). As of Fall 2019 The Anchor has moved to monthly print issues and a more frequently updated website. Occasionally, the volume and/or issue numbering is irregular