Patrice Pavis[1] Un fantôme hante l’Europe et le monde des théâtres : le fantôme du spectateur. Cette notion « nouvelle » obsède à ce point la réflexion des universitaires et l’administration des théâtres que de nombreux livres et de savantes
Hans-Thies Lehmann[1] Le théâtre est en quête de son public, et de nombreux dramaturges s’inquiètent : le théâtre est-il à même, aujourd’hui mais plus encore demain, de trouver un public ? Et si oui, comment ? Pour sa part, le
Rachel Fensham[1] The English edition of Hans-Thiess Lehmann’s (2006) book, The Postdramatic Theatre, argued amongst many things the case for a theatrical avant garde that emerged in the late twentieth century: one which was inter-medial, no longer requiring a fixed
Christopher Balme[1] The resurgence of interest in the public sphere across the social sciences and the humanities is a clear indication that this sometimes ill-defined realm has become a focal point of attention. Academic and artistic interest in something is
Peter M. Boenisch[1] The emergence of relational dramaturgy It is a truism to maintain that theatre has always paid particular attention to its audiences and spectators, whether in contemporary performance, the theatre avant-garde from a century ago, or virtually at
Matthew Reason[1] Abstract This paper explores the potential for spectator-authored creative writing as a vehicle to re‑present the experience of watching dance. Examining a research process that worked with creative writers and experienced dance spectators, it describes how the production