Empowering audiences to measure quality

This paper explores developments in the political representations of English theater audiences from the Elizabethan era to the 1809 OP riots, to demonstrate that audiences were long considered politically significant, not just ‘mere entertainment.’ Early commercial theater audiences were conceived by the Elizabethan state as crowds of subjects that threatened social order. Through the Civil War era, theaters became places of political discussion and dissent and of emerging publics of citizens. By the early nineteenth century theater owners began to reframe audiences as markets of consumers. Each representation continued to appear in later discursive fields, each was contested, and the disputes were couched in political terms.

The silent screen (1895-1928)

In chapter 1, Victoria Duckett introduces the silent screen years (1895–1927) by investigating the American poet Vachel Lindsay’s claim in 1915 that European stage acting was unsuited to film. This critique held sway for decades, during which commentators celebrated American, as opposed to European, contributions to the new craft of motion picture acting. European acting became associated with mannered staginess in contrast to a more subtle American style. Building on recent scholarship that questions this dichotomy, Duckett skillfully analyzes the screen performances of two women actors: the French Sarah Bernhardt, arguably the most famous late nineteenth-century actor, who electrified theater audiences but made relatively few film appearances, and the American Lillian Gish, who began her career as a child in stage melodramas but whose fame derived from her appearances in films. Duckett’s nuanced reading of Bernhardt’s performance in the film Camille (Film D’Art, 1911) and Lillian Gish’s in Broken Blossoms (D. W. Griffith, 1919) reveals that despite their differences, they both used their bodies expressively to convey meanings and emotions.

Building audiences for Indigenous theatre : a case study of Kooemba Jdarra

This paper uses audience research data to examine the positioning of Indigenous theatre in the Australian theatre environment. Kooemba Jdarra is an Aboriginal theatre company in Brisbane, Australia, with a distinguished history of developing Aboriginal artists, writers and directors. However, it has struggled to maintain its positioning because of the perceived risks of participation by audiences who prefer to see Indigenous theatre within the program of the mainstream state theatre company. The paper concludes with strategies for decreasing risk for audiences and for greater advocacy by the company in positioning itself in the mainstream Australia theatre environment.

Audiences and public : when cultural engagement matters for the public sphere

Audiences and Publics: When Cultural Engagement Matters for the Public Sphere, edited by Sonia Livingstone, is reviewed.

Empowering audiences to measure quality

This paper addresses four indicators of the audience experience in the performing arts: knowledge, risk, authenticity and collective engagement, and argues that these provide a measure of the audience's experience of the quality of a performance. Qualitative interviews with four performing arts companies
demonstrated a range of strategies for gathering audience feedback. In particular, the paper addresses systems for gathering "deep feedback" by audiences, and argues that these are a means of collecting information about the quality of the audience experience. "Deep feedback" is a critical mechanism by which performing arts organisations can engage in audience development and audiences are empowered to measure quality.

Entrepreneurship and mass media : audiences' perceptions of entrepreneurship stories in mass media

Using a set ofvariables measured in the Danish population survey related to the international Global Entrepreneurship Monitor project (GEM), this study explored what influences how people perceive stories about entrepreneurship in mass media. It was found that demographics influence how people perceived entrepreneurship stores, whereas social stratifications had no influence. Further on, the findings revealed a reinforcing effect from entrepreneurship stories in mass media. People already engaged in entrepreneurship perceived media stories differently from people not engaged, and people’s existing values were also reinforced. Together, these findings provide some crucial implications for policy initiatives trying to promote entrepreneurship. First, such initiatives need to consider who the actual targets are as different people decode and perceive the same messages differently. Second, such initiatives have to be longitudinal and long termed in order to function through more influential agencies like family, peer group, school, occupational group and so forth, and not only through the mass media as secondary socialisation.

Being and becoming : children as audiences

In this article, Katya Johanson and Hilary Glow examine the ways in which performing arts companies and arts policy institutions perceive the needs of children as audiences. Historically, children have been promoted as arts audiences. Some of these represent an attempt to fashion the adults of the future – as audiences, citizens of a nation, or members of a specific community. Other rationales focus on the needs or rights of the child, such as educational goals or the provision of an antidote to the perceived corrupting effect of electronic entertainment. Drawing on interviews with performing arts practitioners, the authors explore some of these themes through case studies of three children's theatre companies, identifying the development of policy rationales for the support of practices directed at children which are primarily based on pedagogical principles. The case studies reveal a shift away from educational goals for children's theatre, and identify a new emphasis on the importance of valuing children's aesthetic choices, examining how these trends are enacted within the case-study organizations, and the implications of these trends for company programming. Hilary Glow is Senior Lecturer and Director of the Arts Management Program at Deakin University, Victoria. She has published articles on cultural policy and the audience experience in various journals, and in a monograph on Australian political theatre (2007). Katya Johanson lectures and researches in the School of Communication and Creative Arts at Deakin University. She has published on Australian cultural policy and on the relationship between art, politics and national identity. With Glow she is the author of a monograph on Australian indigenous performing arts (2009).

Dual audiences, double pedagogies : representing family literacy as parental work in picture books

Narrative for a dual audience of children and adults is a field of expanding interest among children’s literature scholars. A great deal of the extant research is implicitly or explicitly informed by longstanding anxieties about the status of children’s fiction, a context that shifts the parameters of the analysis to questions of literary sophistication. Whilst some attention is paid to the readersubject position of the child reader, rather less is given to the positioning of the adult reader in relation to the pedagogical agendas of such texts. This article examines picture books featuring parents reading to preschool children. In the context of family literacy, it is an instance in which the pedagogical address to the adult reader is as significant as the address to the child. Drawing on distinctions between double and dual address, the article examines the ways in which representations of parents.

Mobile texts and migrant audiences : rethinking literacy and assessment in a new media age

This article highlights the importance of rethinking literacy assessment in a digital and global world. Although pressures currently abound to narrow conceptions and practices of literacy, especially in an era of high stakes testing, digital multimodality and connectivity offer the potential for new ways of thinking, representing, and communicating, as well as new avenues for participating in relationships across social, geographic, and cultural difference. We explore the challenges of redesigning assessments so that they better take into account children's multiliterate capabilities. In so doing, we offer examples from our work in afterschool contexts that demonstrate how we have grappled with the complexities of assessment in new times.