Abstract
This article seeks to identify a political potential in the performing arts, through defining the social construction 'audience' as a plural form, seen in parallel to society at large and dichotomies such as active/passive, agonism/antagonism and the inherent relationship between the artwork and its spectator. Plurality as such is defended by emphasising that diversity of opinion and disagreement may be necessary for positive social development. By looking at a variety of examples of audience participation in contemporary performing arts, the article defines several modes of voluntary and involuntary participation, drawing lines to established art theories as spectator emancipation and relational aesthetics.
Highlights
This article seeks to identify a political potential in the performing arts, through defining the social construction 'audience' as a plural form, seen in parallel to society at large and dichotomies such as active/passive, agonism/antagonism and the inherent relationship between the artwork and its spectator
Hun var medlem av Heddajuryen i sesongen 2012/13 og tiltrådte nylig som styremedlem i Danse- og Teatersentrum
One question constantly reoccurs: what role should art play in this
Summary
Karoline Skuseth er teaterviter utdannet ved Universitetet i Bergen og Justus-Liebig Universität i Giessen, og leverte sin mastergradsoppgave «Den abnormale kroppen. Hun har siden vært fast ansatt ved BIT Teatergarasjen som kurator for diskursprogrammet til festivalene Meteor og Oktoberdans samt som produsent for forestillinger i sesong. Skuseth var i perioden 2009–14 engasjert som kritiker for scenekunst.no, en redaksjonelt uavhengig nettavis for profesjonell scenekunst og kulturpolitikk. Hun var medlem av Heddajuryen i sesongen 2012/13 og tiltrådte nylig som styremedlem i Danse- og Teatersentrum. Manusutviklingen av disse artiklene er støttet av: Danse- og teatersentrum, Norsk Kulturråd, Kristiansand kommune, Fritt Ord, BIT teatergarasjen, Dramatikkens hus, Bergen kommune.
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