03994nam a22005055i 4500001001800000003000900018005001700027007001500044008004100059020003700100024003500137050001600172072001500188072002300203072001500226100008300241245014400324250001800468264007900486300004300565336002600608337002600634338003600660347002400696505047200720520175801192650002902950650001902979650002802998650002003026650002203046650004203068650004103110650004103151650003703192710003403229773002603263776003603289776003603325776003603361856004603397912001403443912001403457999001703471978-3-031-64459-7DE-He21320251030112928.0cr nn 008mamaa240901s2024    sz |    s    |||| 0|eng d  a97830316445979978-3-031-64459-77 a10.1007/978-3-031-64459-72doi 4aPN2181-2193 7aAN2bicssc 7aPER0110002bisacsh 7aATD2thema1 aHoover, Sarah.eauthor.4aut4http://id.loc.gov/vocabulary/relators/aut98342910aReflective Affective Dramaturgies of Participatory Theatreh[electronic resource] :bLarping Audiences into Performance /cby Sarah Hoover.  a1st ed. 2024. 1aCham :bSpringer Nature Switzerland :bImprint: Palgrave Macmillan,c2024.  aIX, 193 p. 17 illus.bonline resource.  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  atext filebPDF2rda0 aIntroduction: Histories and lineages of affect in performance and larp -- Chapter 1. The Potential Machine: the reflective affective model -- Chapter 2. “It feels real”: excess and intensity in The Prison -- Chapter 3. “A bigger version of me”: self-presence in New Voices in Art -- Chapter 4. “Am I that kind of person?”: the RA model applied from concept to post-production in Two Truths -- Chapter 5. Conclusion: considering our systems of performance.  aAs the popularity and diversity of participatory theatre productions increase, scholarly and artistic attention toward the audience as agentive contributors and interpreters must keep pace. Simultaneously, the COVID-19 pandemic has added urgency to the collective artistic encounter and its value to individual and community health. This book proposes “reflective affective” dramaturgies of participatory theatre aimed toward incorporating participants’ reflections and affective responses as material in an emergent exploration of represented systems of power. The volume's interdisciplinary theoretical frameworks stem from performance studies discourses including feminist materialism, phenomenology and affect theory, bringing them together with larp scholarship on character/self performance, agency and emergence. Through its integration of the practical and theoretical, this work serves as an essential study for scholars, students and artists in theatre studies, performance studies, visual art studies, role-play studies, cultural studies, and philosophy. Sarah Hoover is a Postdoctoral Researcher with the University of Galway, Ireland, on the EU Horizon 2020 funded project Computational Literary Studies Infrastructure (CLS INFRA). Her research centres on the creation and digitisation of interactive and other audience-centred performance dramaturgies, considered through new materialist theory. As a lecturer, Hoover convenes and delivers postgraduate modules from Applied Dramaturgy to Critical Methods, and undergraduate modules including Artistic Research, Performance Studies and Advanced Devising. In addition to research projects and extensive teaching, Hoover dramaturgs new theatre and performance in the UK, US and Ireland. 0aTheaterxHistory.966689 0aActors.967645 0aPerforming arts.967607 0aTheater.966691 0aAudiences.96888014aContemporary Theatre and Performance.24aPerformers and Practitioners.96765024aTheatre and Performance Arts.96761124aFan and Audience Studies.9688822 aSpringerLink (Online service)0 tSpringer Nature eBook08iPrinted edition:z978303164458008iPrinted edition:z978303164460308iPrinted edition:z978303164461040uhttps://doi.org/10.1007/978-3-031-64459-7  aZDB-2-LCM  aZDB-2-SXL  c62970d62970