In this case, the artist has an initial priority position over the spectator. The artist speaks first, he brings his vision out. The spectator is the addressee of the artwork, he receives the vision of the artist. Is an artist without audience still an artist? Is the spectator the aim of the artistic creation? Is its assumed existence a condition for art to make sense? Is there an art which does not need a spectator?
Where does the borderline between spectator and artist can be drawn? Who draws it and how insurmountable is it? Is there a grey area where spectator and artist are not distinguishable? At drama school I was so scared of the audience that I performed without my glasses. Somehow I must have associated the public with that particularly dreaded species-the drama school audition panel.
I could never pull off my drama school trick now. Bio Larisa was born in Romania and raised in Luxembourg. She trained at Drama Centre, London, and works in five languages. Search in Google Scholar Published Online: Published in Print: Journal of Contemporary Drama in English , 4 1 , Journal of Contemporary Drama in English, Vol.
Journal of Contemporary Drama in English. Copy to clipboard. Log in Register. Volume 4 Issue 1. By taking part in the performance, the spectator is inspired to act in his or her own life, and is likely to continue to take part in theatre activities, transforming the impressions of art into a personal experience.
Theatre Creative Community. In Theatre for Everyone, when we persuade young people to cooperate with us, we motivate them with a promise of stage success. The young participants are motivated by the success of their performances, and they carry this forward in their lives.
The process of organising the performance and working out the topic and storyline, based on social issues central to their own lives, proves to be transformational: they discover their agency and are motivated to continue with theatre and social engagement. In our regular camps and drama sessions we channel the unleashed energies of young people into creative work, and spur social transformation manifested in amateur theatrical companies that sprout up in the settlements in which we work.
The key word here is self-organisation. We have facilitated the founding of six amateur companies by assisting in their legal incorporation and development. As they get increasingly involved in the work of these companies, the family and friends of the young people participating, and other community members, are likely to contribute to their upkeep — and we regularly apply for small amounts of funding for them in cooperation with local NGOs.
Participants acquire necessary skills when working on a common agenda, firstly for their own performance and later for their amateur company.
Theatre is an ideal medium to build and sustain collective competencies. Being a community art, theatrical practices develop skills such as team building, intra-group cooperation and competition, and conflict management.
Our goal is to improve certain individual competencies, especially those relating to entrepreneurial leadership. It is of crucial importance that Roma minority leaders as well as youth who are willing to assume leading roles in the community recognise new opportunities and organize their peers to take advantage of them.
Theatre is an effective device for improving both problem-solving and leadership skills. Furthermore, young people who are successful on stage return to their homes as examples to others in their community.
In theater, the spectators are not innocent, they are not blank white papers that anyone can write whatever he wants. They have awareness and culture. Their luggage, their soul is full of images, feelings, knowledge and references.
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