The ‘Audience Through Time: an interdisciplinary dialogue around spectatorship’ conference was established and run by doctoral student Christine Twite at Queen Mary University last December (Sat 3rd Dec 2011). The day presented interdisciplinary approaches in current research from practitioners, established and postgraduate researchers concerned with the spectrum of spectatorship, audience engagement and participation in theatre, film and contemporary performance.
The day was also an occasion for discussion, creating space to meet national PhD researchers engaged in investigating the roles of contemporary audiences, ‘liveness’ and to discuss the challenges and approaches inherent in practice led research across a range of institutions. The speakers explored a range of positions and the impact of participation upon audiences examining particular artists and performance companies, the specificity of the theatrical space and its implication, mediated performance via live-streaming to international audiences and an example of one of the first pieces of ‘invisible theatre’ or hoax to name a handful.
Professor Martin Barker (Emeritus Professor of Film and Television Studies at Aberystwyth University) whose paper ‘Catching Audiences in the Act of Changing: the Case of Streamed Performances’ explored a new aspect of spectatorship – going to the theatre at the cinema. Examining liveness through the medium of simultaneous live broadcasts creating international, collective, experiences using data recorded by NESTA and Picturehouse Cinema to gauge audience response to this phenomena.
His research offered another perspective on the expectations of the ‘theatre going audiences’ who wanted something new but also responded to the emotional intimacy afforded by the close-up camera shots and a ‘heightened’ experience in the knowledge that audiences were sharing the event across the globe simultaneously.
Penelope Woods, a PhD student based at Queen Mary University and The Globe Theatre, London, demonstrated in her evocative paper ‘The Realm of the Accidental and Outdoor Performance’ the impact the ‘accidental’ can have upon performance. Investigating the openness of the Globe Theatre to the elements (and the elements of chance) – weather, wildlife, external sounds, etc., the risk and the collision between the predictable and the unpredictable to create an unexpected mise-en-scene that is both porous in nature and to nature, where coincidences create or add magical qualities to performance. Recalling chance events where “effects are heightened when they appear to happen accidentally”, like the synchronicity of a single rain cloud hanging in a clear blue sky at exactly the moment when a rain cloud is heralded in the performance, a moment when the real and the fictional world bump into one another and co-exist. The risk of the unknown produces extra charge for the actors and astonishment in the audience when something as ordinary as a pigeon or a sudden rain shower breach the theatrical space seemingly to interact with the action or dialogue, producing an unexpected hyper-reality.
Professor Jim Davis from the University of Warwick introduced us to ‘Hoaxes and Fires: Extra-theatrical Spectatorship in nineteenth-century London’ and what could have been the first example of invisible theatre. His example was an event that took place in Berner Street, Westminster in 1809 and was later deemed a hoax instigated by Theodore Hook. A bet with a friend led Hook to plan an elaborate hoax whereby hundreds of people were invited to his home in Berner street to sell their wares or services whilst Hook and friends, who had hired an apartment opposite watched the spectacle unfold as fishmongers, chimney sweeps, shoemakers and a host of deliveries from wedding cakes, a fleet of coal carts and undertakers with a made-to-measure coffin, followed by doctors, lawyers, a dozen pianos, the Governor of the Bank of England, the Archbishop of Canterbury, the Mayor of London and many more arrived at his home. The chaos of the day turned all the visitors into unwitting performers, participants in the unfolding events of the day that peaked with the closure of the road and a large area of London was caught in the standstill.
Rachel Gomme, artist and PhD researcher (Queen Mary) began her lecture ‘Sculpting in time: The experience of material temporality in durational performance’ with a pause. Gently, quietly she introduced us to a consideration, to “enjoy the time passing…” The whole auditorium gently settled into a thickened silence and gave their attention to the stillness as everyone appeared to consider ‘time’ passing through the room.
This was less a lecture and more performance.
Concerned with the physical shaping of time Gomme introduced several artists, nudging at their intentions, sharing her responses through an ephemeral unfolding of of their work. Clare Twomey’s ‘Is It Madness. Is It Beauty’ at Siobhan Davies Studios Gallery, durational installation of hundreds of unfired ceramic bowls as they are filled with water and the illusion of time as Gomme witnessed their slow, imperceptible collapse offering the audience the opportunity to luxuriate in the time-space, repetition and the succession of new instances she had created. In Jordan McKenzie’s ‘Drawing Breath’ at the Arnolfini’s InBetween Time Festival of Live Art and Intrigue, Gomme draws our attention to the breath changing from one form to another – breath to water, to ice, breath melting the ice and turning it back into breath again, the implication of the body sculpting time through these transformations, the materiality of time and time as presence to be manipulated and witnessed.
The day offered many perspectives, provoked conversations and allowed space between panels for discussion with speakers and attendees alike. Fundamentally it was a temporary space for researchers at various points in their careers to share their research in an environment of shared values, support and curiosity.