Date 13th August 2023:
Hi everyone, little bit of a different post today, wanted to start sharing some of my more academic work online and for the meantime, this appears to be the best place for it; though that might change! This essay was one I wrote in my second year of my BA in Drama Applied Theatre and Education and it explores the relationship between the audience of a show and the actors on stage. Enjoy :)
Why respect for the spectator is crucial to the success and safety of participatory performance.
Respecting the spectator in participatory theatre is critical. Respect forms the basis of every interaction within a theatrical setting, even when something appears disrespectful, there is normally some form of respect for the audience and their experience of the show or event, underpinning this choice. With applied theatre and social theatre on the rise in the world, there are so many varied and wonderful ways participatory theatre respects its wide and ever changing audience. From participatory events focussed solely on its audience, to more traditional theatre shows, using its audience in new and inventive ways, interactive theatre is a fantastic way to both educate and poke fun at the strict, social rules of attending a traditional theatre show. It can be argued “all theatre is participatory at one level or another” as “a theatre event is always a two way process with the audience bringing its own experiences and understandings from the outside world, influencing the performance by its own presence and making its own meaning out of the on-stage material” (Jackson and Liv-Aladgem 2004:208-209). Jackson and Liv-Aladgem have a solid point, the audience does indeed play a large role in the energy in a theatre and their reactions towards something, gives the actors a clear way to tell if the show is working. However there are specific styles of theatre that push this two way participation to new levels and within this essay we will be looking at theatrical events that are clearly and deliberately using participatory elements to either challenge their audience or to educate and raise awareness. Within this essay, we will be discussing the role of respect for spectators in Richard Bean's One Man Two Guvnors, looking at how it uses its audience members to create an air of humour in the theatre and how the choices the actors made for the style and execution of the participation, changed the respect given to the entire audience. We will consider the practicalities of a ‘theatrical contract’ that is used within participatory theatre as a foundation for every audience interaction. Finally we will explore how Forum Theatre uses respect for its participants as the very foundation of its practice, looking at why this is important and how this is carried out, as well as how Forum Theatres style of participation can be used to educate and empower its spectators.
Respect within the theatre is an interesting concept, especially when applied to participation. For how exactly do we define and confirm if an audience is being or feeling ‘respected’ (or not)? After all, what may be disrespectful for one audience member, may be thought of as respectful by another. The same can be said for participation, some audience members will find the idea of participation deeply disrespectful, regardless of how it is carried out. Others will feel a great deal of respect towards being actively involved in a piece of theatre.
The word respect has many definitions, some, which were particularly pertinent when looking into respect for the participatory spectator, were: 1. “politeness, honour, and care shown towards someone or something that is considered important” (Cambridge Dictionary 2019) 2. “To think it’s important to obey a rule or law” (Cambridge Dictionary 2019) and finally 3. “a feeling that something is right or important and you should not attempt to change it or harm it” (Cambridge Dictionary 2019). The idea of rules, politeness and not harming something or someone seems to sum up the core idea of what it is to be the audience of a piece of interactive theatre. Respect also plays a role in the so-called ‘contract’ a spectator enters when viewing a piece of interactive theatre. Kirtsy Segman argues that “The traditional ‘audience contract’ is usually invisible and unspoken, yet exerts a very real power. In return for performers’ labour, theatregoers implicitly agree to take part in creating and maintaining the onstage world. [...] But this doesn’t necessarily lead to passive spectatorship.” (Sedgman 2018). Damon Krometis links Sedgmans contract theory directly to interactive theatre, arguing that:
Every piece of interactive theatre involves a contract with the audience. This contract implicitly and/or explicitly establishes the rules of viewership. It informs spectators how they are allowed to engage with the show’s performers, with their environment, and each other. Contracts can take myriad forms, and their various rules and theatrical devices can ultimately trigger very different thought processes for the audience.” (Krometis 2015).
The idea of a theatrical contract in relation to participation and audience respect, while theoretical, also makes sense when you consider the many ways participation can be carried out within applied theatre and more traditional theatrical settings. Unlike the word ‘respect’, participation has only one definition, which is “the action of taking part in something.” (Cambridge Dictionary 2019). So for a theatrical event to be participatory, the audience must in some way, be asked to take part in an element of the show. The audience can be influential to the show via participation, like in pantomimes where large elements are designed around the audience being involved or in Forum Theatre where the audience quite literally changes the entire show by their participation. The idea and execution of a ‘theatrical contract’ ties nicely into the participatory elements of One Man Two Guvnors and the foundation of Forum Theatre. One Man Two Guvnors breaks and rewrites their participation contract as the show goes on, consistently challenging its audience's perception of participation and pushing the boundaries of respect; whereas Forum Theatre stays within the bounds of its contract, using it as the foundation of its audience interactions.
One Man Two Guvnors participation rules are set out from the opening of the show , with actors breaking the fourth wall and asking audience members questions within the first few scenes. The actors set out the rules of participation through calling out the audience members who step out of line and say or do the wrong thing. It is made clear that this is not a show the audience are expected to watch, like many other National Theatre shows, but it is a show the audience are expected to interact with. It could be argued that “all audiences are participatory” (White, 2013:3) due to the audience being able to influence the feeling and energy in a theatre through their reactions. One Man Two Guvnors plays off this theory, at times calling the audience out for laughing when the character wasn’t trying to be funny and vice versa. White makes an interesting conclusion to his theory that all audiences are participating in shows, saying that “They [the audience] are affected emotionally, cognitively and physically by the action they witness” (White, 2013:3). If we apply this theory to One Man Two Guvnors, we can split the participation into two main concepts; 1. The physical manipulation of the audience, through them coming on stage and interacting with the actors. And 2. The emotional manipulation of the audience which is achieved through the comedy elements and through some of the interaction with the audience. Within these two main concepts of audience interaction it is possible to clearly breakdown how each interaction changes the respect given (or taken) from the audience.
If we look at the physical manipulation of the audience, where the actors move the audience either around the stage or around the auditorium for them to come on stage, the respect is defined by the politeness the actors treat each member of the audience with. Despite some interactions being tongue-in-cheek in tone, the actors are always courteous with the spectators they interact with. The actors make sure to ask the spectator if they are willing to come on stage, they then guide them onto the stage and briefly explain what is expected of them. The respect in this example is clear, the spectators are supported and respected by the actors at all times.
Within the emotional manipulation, the respect is shown through how the actors address the audience from on stage. They were humorous and polite to their spectators, encouraging them to be involved and often going as far as to ask their advice on a problem the character was experiencing. Much like with the physical interactions with the audience, the respect is also clear cut in this example, as the actors never stray far from being openly respectful to their audience.
The concept where respect becomes harder to decide upon, is where both the emotional and physical manipulation of the audience meet. Throughout the play, audience members who were originally respectfully treated by the actors, found themselves getting hosed by a fire extinguisher, shut in wardrobes and messed about, missing lots of the show they’d paid to see and being put in all sorts of uncomfortable situations. While this is greatly humorous, there is also an underlying current of discomfort, as the audience are asked to sit there and watch one of their own, be blatantly disrespected in real time. It’s not until the very end of the play, when the actors are taking their bows, that the audience realise that the two ‘audience members’ called to come on stage, were in fact actors.
There are two main reasons the aforementioned example is less clear on the level of respect the actors give their spectators. 1. That the actors had lied to the audience by tricking them into believing these actors were their peers. The second reason is that because of the aforementioned point, it could be argued that the show hadn’t really created a participatory theatre experience involving the true audience. However, something important to consider, especially when discussing respect in a theatrical setting, is health and safety. Keeping the audience safe within participatory shows is important as the actors will want the audience to feel able to participate and be able to have an exciting experience within the theatre. By using fake audience members to take part in the stunts, which could potentially have been dangerous if an unsuspecting spectator was required to participate in one, One Man Two Guvnors was ensuring its true audience, was kept safe and never put in a situation where something could go wrong, either for them as actors, or, more importantly, for the paying audience. I would argue that despite the fact the audience had all been lied to for the entire piece, One Man Two Guvnors was respecting its audience members by not asking them to be put in disrespectful and unsafe situations.
As I mentioned briefly, One Man Two Guvnors breaks and rewrites the theatrical contract they explicitly set up with their spectators from the opening of the show. The participation rules change for the audience, as at the start they appear to only be expected to engage verbally with the show. Then the participation rules shift again when the first on stage interaction happens and the audience learns they are allowed to engage physically and verbally with the show. And finally, when the stunts with the fake audience members take place, the real audience are suddenly asked to question if they should be taking part in the play as they see first hand, that they appear to not be safe on stage. There is one rule that never changes throughout the show, which is an unspoken, joint knowledge between the spectators and the actors that if someone does not wish to go on stage, there are hundreds of other people for the actors to ask instead. This rigidly sets up an unshifting base level of respect, for the joint knowledge in knowing the spectators have the power to refuse to go on stage, creates a sense of empowerment for the audience and allows them to feel respected by the actors and for the spectators to respect the actors not pushing them to come on stage, in return. This two way unspoken conversation, links to White theory of the audience having more power over the show than they may realise. The audience's verbal cues, such as laughter, and their physical cues, such as fidgeting or even leaving the auditorium, gives the actors clear indications that things are working or not. This allows the actors to once again, change their side of the participation contract, allowing them to replace interactions that received no response, with new ones, in the hope they will be able to include their audience again. This constant back and forth between the actors and their spectators creates an ever shifting level of (obviously noticeable to the audience) respect that is crucial to the show as a whole, working successfully.
Respect is also the very foundation of Forum Theatre as respecting the audience's participation plays a large role in the success of many Forum Theatre projects. Forum Theatre is a theatrical technique pioneered by Augusto Boal. Within a Forum Theatre event “A play or scene, usually indicating some kind of oppression, is shown twice. During the replay, any member of the audience (‘spect-actor’) is allowed to shout ‘Stop!’, step forward and take the place of one of the oppressed characters, showing how they could change the situation to enable a different outcome.” (Farmer 2018). The participants are able to try out several different alternatives by suggesting other options and exploring them with the actors. The actors always remain in character and always seek to oppress the protagonist. A facilitator (often called the Joker) is the link between the audience and the actors. They invite spectators to suggest solutions to the oppression and host conversations after the exploration to discuss what worked and what needed to be improved. Something important to note in regards to respect is that the spect-actors do not have to be physically involved in the event if they do not wish to be. The audience are able to suggest a solution and watch the actor playing the protagonist (or another spect-actor who could be called upon by the Joker) improvise a new scene around their solution. By creating an open, welcoming, respectful environment where everyone is working together and is equally as important as one another, Forum Theatre enables joint respect between everyone involved to take place. This joint respect is critical to the Forum Theatre theory working and creating a space where the audience can try to create real life solutions to the real life oppression based pieces being performed to them.
Forum Theatre also has an incredible ability to be performed anywhere, there is no need for a traditional theatre setting. Augusto Boal would often take his theatre company out to remote areas and try to help them solve problems they came up with. Because “Forum theatre is a wonderfully flexible method. In close consultation, we can produce a play which resonates with challenges faced by the audience. Alternatively we can work with the audience to create and present their own forum theatre productions” (University of Southampton 2021). Given Forum Theatres flexibility, it means it can reach a wider, more isolated audience, thus giving their audiences the ability to be involved in theatre, be respected in a theatrical setting and have their voices and ideas heard.
There are rules and a structure to Forum Theatre as well, which helps the audience to understand when and more importantly, how, to participate with the piece. This is something consistent and could be considered to be a steadfast rule in Forum Theatres participation contract. An idea particularly pertinent to Forum Theatre theatrical contract is the idea that “Audience participation [can] aim to engage audience members in social activism and personal development” (White, 2013: 3). Forum Theatre does this by carefully crafting a safe and supportive environment for their participants. This environment holds potential for the spectators to feel empowered and respected. By creating an environment based solely on audience participation, respecting the spectator in times of participation becomes a natural process and takes many forms in a Forum Theatre event. From actively listening to suggestions the audience members create, to performing them, to having an open discussion as to why the idea worked/didn’t work and even the way the Joker interacts with the audience, all show respect for the spectators participation. Given the fact that the audience can have the power to stop a performance and give their thoughts on a solution, it creates a unique power dynamic which constantly changes the very foundation of the show as “The actors explore the results of these choices with the audience creating a kind of theatrical debate, in which experiences and ideas are rehearsed and shared, generating both solidarity and a sense of empowerment” (Forum Theatre 2018). Unlike One Man Two Guvnors theatrical contract, which is ever changing, Forum Theatres participants can take comfort knowing that even though the result of the scene shown may change, the respect and rules surrounding Forum Theatre won't.
Participatory theatre styles can be provocative and thought provoking. They can challenge the audience's idea of theatre, educate them and provide unique forms of entertainment. They often allow the audience to question their beliefs about respect and disrespect. Participatory theatre styles like Forum Theatre provide an environment where improvisation, self questioning and exploration are expected, as well as a safe space for real life solutions to be found to a problem a community faces. Shows like One Man Two Guvnors create a special bond with their audience, allowing them to experience some form of participation from a safe distance, ensuring everyone at all times is safe and respected. Theatrical participation in the examples we have explored, go hand in hand with direct respect for spectators of all kinds and of all levels of participation. And I would go as far as to argue that all participatory theatre respects its spectators, even if, like One Man Two Guvnors, it does not immediately appear so. The audience is the key to participatory theatre working, the interactions they partake in bring the show to life and with a lower level of respect, they are less likely to respond positively to the interactions. As a result, without respecting the audience, participatory shows become much harder to achieve. When the audience of an interactive show is completely respected, “it is here that theatre, performance and art making, can make a powerful impact” (Baxter and Low, 2017:4)
Bibliography:
Baxter, Veronica, and Katharine E Low. Performing Health and Wellbeing. London, Bloomsbury Methuen Drama, 2017.
Cambridge Dictionary. “PARTICIPATION | Meaning in the Cambridge English Dictionary.” Cambridge.org, 16 Oct. 2019, dictionary.cambridge.org/dictionary/english/participation.
---. “RESPECT | Meaning in the Cambridge English Dictionary.” Cambridge.org, 2019, dictionary.cambridge.org/dictionary/english/respect.
Farmer, David. “Forum Theatre.” Drama Resource, 16 Apr. 2019, dramaresource.com/forum-theatre/.
Forum Theatre. “Forum Theatre.” Involve.org.uk, 28 June 2018, www.involve.org.uk/resources/methods/forum-theatre.
Jackson, Anthony, and Shulamith Liv-Aladgem. Theatrical Events: Boarders Dynamics Frames. Edited by Vicky Ann Cremona et al., International Federation for Theatre Research, 2004, pp. 207–208, www.google.co.uk/books/edition/Theatrical_Events/IQRi5orCtKcC?hl=en&gbpv=1&kptab=overview. Accessed 13 Apr. 2021.
Krometis, Damon. “Establishing the Audience Contract.” HowlRound Theatre Commons, 31 Oct. 2015, howlround.com/establishing-audience-contract. Accessed 30 Mar. 2021.
Sedgman, Kirsty. “The Theatre Contract.” The Reasonable Audience, 2018, pp. 11–21, 10.1007/978-3-319-99166-5_2. Accessed 13 Apr. 2021.
Spencer, Charles. “One Man, Two Guvnors: Charles Spencer’s Original Review of the Play That Made James Corden a Star.” The Telegraph, 2 Apr. 2020, www.telegraph.co.uk/theatre/what-to-see/one-man-two-guvnors-charles-spencers-original-review-play-made/. Accessed 5 Apr. 2021.
University of Southampton. “The Forum Theatre.” University of Southampton, 2021, www.southampton.ac.uk/healthsciences/business_partnership/innovations/forum_theatre.page. Accessed 13 Apr. 2021.
White, Gareth. Audience Participation in Theatre : Aesthetics of the Invitation. London, Palgrave Macmillan, 2013, books.google.co.uk/books?hl=en&lr=&id=5UuYAAAAQBAJ&oi=fnd&pg=PP1&dq=live+performances+audience+participation&ots=v3EdYznrHT&sig=YVJkoWdMrbf2bJh6ioq1WUiY8a8#v=onepage&q=live%20performances%20audience%20participation&f=false. Accessed 13 Apr. 2021
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