Talking back: audience collaboration and intervention in modernist and postwar drama

Sheets, Frank

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Description

Title

Talking back: audience collaboration and intervention in modernist and postwar drama

Author(s)

Sheets, Frank

Issue Date

2014-09-16

Director of Research (if dissertation) or Advisor (if thesis)

Mahaffey, Vicki

Doctoral Committee Chair(s)

Mahaffey, Vicki

Committee Member(s)

• Hansen, James A.
• Hohman, Valleri J.
• Stenport, Anna W.

Department of Study

English

Discipline

English

Degree Granting Institution

University of Illinois at Urbana-Champaign

Degree Name

Ph.D.

Degree Level

Dissertation

Keyword(s)

• Modern British Drama
• Modern Irish Drama
• Modernist Studies
• Literary Modernism
• Twentieth-Century Literature
• Twentieth-Century Drama
• Audience Studies
• Performance Studies
• Experimental Theatre
• Avant-Garde Theatre

Abstract

When audiences talk back, either by responding or retorting, the line between performers and audience members blurs, bringing into relief the relationship between spectatorship and agency. The dramas of W. B. Yeats, W. H. Auden, T. S. Eliot, and John Arden pursue such a blurring by positioning spectators as collaborators rather than passive bodies upon whom the production works. My study demonstrates how these plays represent a hitherto unrecognized strand of modernist and postwar conceptions of the audience‑actor relationship. Auden, for instance, viewed spectators as part of the “troupe,” stating that if “you are seeing and hearing you are co-operating.” Auden’s perspective differs greatly from other modernist theories of audience, many of which seek to divide, shock, or instruct spectators. Instead of examining how modernist alienation manifests itself in the theatre, my study demonstrates how this shift toward active audience involvement occurred during the interwar and immediate postwar eras and thus dramatized newly urgent questions about political participation and ethical responsibility. Whether through intimate staging, direct addresses to the audience, or by bringing spectators onstage, these plays dramatize questions of political and ethical agency while also providing new, invigorating ways for spectators to “co-operate” with the performance. By fully demonstrating the import and lasting influence of this strand, my dissertation posits a new framework for thinking of twentieth-century theatre history: one that focuses on what audiences give to performances instead of what performances require of them.

Graduation Semester

2014-08

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http://hdl.handle.net/2142/50335

Copyright and License Information

Copyright 2014 Ryan Sheets

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