from
A Bibliography of Literary Theory, Criticism and Philology
by José Ángel García Landa
(University of Zaragoza, Spain)
Audience, Public, Spectators (theatrical)
Acheson, James. "Chess with the Audience: Samuel Beckett's Endgame." In Critical Essays on Samuel Beckett. Ed. Patrick A. McCarthy. Boston: G. K. Hall, 1986.
Álvarez Carbajal, Rita Lucía. "La construcción del espectador desde el texto en cuatro casos de la dramaturgia textual peruana." Desde el Sur 15.3 (2023): e0035.*
https://doi.org/10.21142/DES-1503-2023-0035
https://revistas.cientifica.edu.pe/index.php/desdeelsur/article/view/e0035
2023
Avery, E. L. "The Restoration Audience." Philological Quarterly 45 (1966): 54-61.
Bennett, Susan. Theatre Audiences: A Theory of Production and Reception. Routledge, 1991. 2nd ed. London: Routledge, 1997.
Brown, Pamela Allen. "'Fie, What a Foolish Duty Call You This?' The Taming of the Shrew, Women's Jest and the Divided Audience." In A Companion to Shakespeare's Works, Volume III: The Comedies. Ed. Richard Dutton and Jean E. Howard. Malden: Blackwell, 2003. Pbk. 2006. 289-306.*
Crow, Brian. "The Behzti Affair Revisited: British Multiculturalism, Audiences and Strategy." Studies in Theatre and Performance 27.3 (2007): 211-22. (Gurpreet Bhatti).
Davis, Jim, coauth. Reflecting the Audience: London Theatregoing, 1840-1880. U of Iowa P, 2001.
_____. "4. Spectatorship." In The Cambridge Companion to British Theatre, 1730-1830. Ed. Jane Moody and Daniel O'Quinn. Cambridge: Cambridge UP, 2007. 57-68.*
Davis, Mac. Get the Guests: Psychoanalysis, Modern American Drama and The Audience. U of Wisconsin, 1994.
de Bolla, Peter. "The Visibility of Visuality: Vauxhall Gardens and the Siting of the Viewer." In Vision and Textuality. Ed. Stephen Melville and Bill Readings. Houndmills: Macmillan, 1995. 282-95.*
Dolan, Jill. The Feminist Spectator as Critic. U of Michigan P, 1988.
Dunbar, R. I. M., et al. "Emotional Arousal when Watching Drama Increases Pain Threshold and Social Bonding." Royal Society Open Science 21 Sept. 2016. DOI: 10.1098/rsos.160288
Abstract and introd. at New Savanna 21 Sept. 2016.*
http://new-savanna.blogspot.com.es/2016/09/emotional-arousal-of-drama-increases.html
2016
Duranti, Alessandro, and Donald Brenneis, eds. The Audience as Coauthor. Special issue of Text 6.3 (1986).
García Landa, José Angel. "Redes, Regiones y Público (Networks, Regions, and Audiences)." Social Science Research Network 21 June 2015.*
http://ssrn.com/abstract=2623861
2015
_____. "Redes, regiones y público (Networks, Regions and Audiences)." In García Landa, Vanity Fea 30 June 2015.*
http://vanityfea.blogspot.com.es/2015/06/redes-regiones-y-publico-networks.html
2015
Gurr, Andrew. "The Audiences." In Gurr, The Shakespearean Stage, 1574-1642. 3rd ed. Cambridge: Cambridge UP, 1992. 212-31.*
Harbage, Alfred. Shakespeare's Audience. London, 1941.
_____. Shakespeare's Audience. New York: Columbia UP, 1941. 1969.
Levy, Deborah. "Structuring the Audience's Attention." Paper delivered to the Graduate Women and Literature Seminar, St Joh's College, Cambridge, 7 Feb. 1990. (Unpublished).
Martin, Jack, and Bryan Sokol. "Generalized Others and Imaginary Audiences: A Neo-Meadian Approach to Adolescent Egocentrism." New Ideas in Psychology 29.3 (2011): 364–75.
McConachie, Bruce Alan. Engaging Audiences: A Cognitive Approach to Spectatorship in the Theatre. Palgrave Macmillan, 2008.
McDougall, Gordon. "Theatrical Truth: The Dialogue between Audience and Performance." Studies in Theatre and Performance 22.2 (2002): 107-17.
Miller, Adam David. "It's a Long Way to St. Louis: Notes on the Audience for Black Drama." In The Theatre of Black Americans: A Collection of Critical Essays. Ed. Errol Hill. New York: Applause, 1987. 301-6.
Normington, Katie. Medieval English Drama: Performance and Spectatorship. Cambridge: Polity Press, 2009.
Ozieblo, Barbara, and Maria Dolores Narbona-Carrión, eds. Codifying the National Self: Spectators, Actors and the American Dramatic Text. Brussels: P.I.E. Peter Lang, 2006.
Pedicord, Henry William. The Theatrical Public in the Time of Garrick. New York: King's Crown Press, 1954.
_____. (Harry W. Pedicord). "The Changing Audience." In The London Theatre World, 1660-1800. Ed. R. D. Hume. Carbondale, 1980. 237-41.
Rebellato, Dan. "When We Talk of Horses: Or, What Do We See When We See a Play?" Performance Research 14.1 (2009): 17-28.
Ross, Julian L. "Dramatist versus Audience in the Early Eighteenth Century." Philological Quarterly 12 (1933): 73-81.
Schaefer, Kerrie. "The Spectator as Witness? Binlids as Case Study." Studies in Theatre and Performance 23.1 (2003): 5-20.
Scolnicov, Hanna, and Peter Holland, eds. The Play out of Context: Transferring Plays from Culture to Culture. 1989.
Scouten, Arthur H., and Robert D. Hume. "Restoration Comedy and Its Audiences." In The Rakish Stage. Ed. Robert D. Hume. Carbondale (IL), 1983.
Straub, Kristina. "9. The Making of an English Audience: The Case of the Footmen's Gallery." In The Cambridge Companion to British Theatre, 1730-1830. Ed. Jane Moody and Daniel O'Quinn. Cambridge: Cambridge UP, 2007. 131-44.*
Osborne, L. E. "Female Audiences and Female Authority in The Knight of the Burning Pestle." Exemplaria: A Journal of Theory in Medieval and Renaissance Studies 3 (1991): 491-517.
Paulus, Diane. "I'ts All About the Audience." Contemporary Theatre Review 16.3 (2006): 334-47.
Sánchez Roura, María Teresa. "Addressing the Audience of the Towneley Plays." In SEDERI VI. Ed. Ana María Manzanas Calvo. N.p.: SEDERI, 1996. 175-88.*
Styan, J. L. "4. Shifting Impressions: The Cherry Orchard." In Styan, The Elements of Drama. Cambridge: Cambridge UP, 1960.*
_____. "11. Audience Participation: Crime Passionel, The Hairy Ape." In Styan, The Elements of Drama. Cambridge: Cambridge UP, 1960. 231-55.* (Sartre, Crime passionel = Les mains sales).
Trussler, Simon. "6. The Jacobean Theatre 1603-1625." In Trussler, The Cambridge Illustrated History of British Theatre. Cambridge: Cambridge UP, 1994. pbk 2000. 90-105.* (From Elizabethan to Jacobean. New patrons, and the 'move indoors'. Changing audiences and changing tastes. Acts and scenes. The nature of 'character': the malcontent and the revenger. Conventions, cross-dressing, and clowning. Tragedy, tragi-comeedy, and the 'triumvirate of wit'. Masques, and other entertainments. 'City Comedy', the puritans, and the politics of theatre).
Webster, John. "To the Reader in, The White Divel . . . Written by Iohn Webster. London: Printed by N. O. for Thomas Archer, 1612.
_____. "To the Reader of The White Devil." 1612. Select. in Literary Criticism from Plato to Dryden. Ed. Gilbert. 551.*
_____. "To the Reader." From The White Devil. In Writing and the English Renaissance. Ed. William Zunder and Suzanne Trill. Harlow (Essex): Longman, 1996. 266-67.*
Whitelock, Dorothy. The Audience of Beowulf. Oxford, 1951.
Literature
Jonson, Ben. "Ode to Himself." 1631, 1640-41.
_____. "An Ode to Himself." In The Songs and Poems of Ben Jonson. London: Philip Allan & Co., 1924. 59-60.
_____. "Ode to Himself." In The Norton Anthology of English Literature. 7th ed. Ed. M. H. Abrams, Stephen Greenblatt et al. New York: Norton, 1999. 1.1416-18.*
_____. "An Ode to Himself." Luminarium
http://www.luminarium.org/sevenlit/jonson/odetohimself.htm
2012
Video
Gómez, José Luis. "Breviario de teatro para espectadores activos." Inaugural discourse at the Real Academia Española, 1 Dec. 2011. Online video at YouTube (Canal de RAEinforma) 30 Jan. 2014.*
2014
See also Theatre-going.
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