The thirteenth edition of The Theatre Experience is students' ticket to the best seat in the house. From Broadway to makeshift theater spaces around the world, the author demonstrates the active and lively role they play as audience members by engaging them in the collaborative and creative processes behind and in front of the curtain. Wilson introduces students to the roles of the performers, directors, producers and designers, while emphasizing the insights they as audience members bring to any production. The thirteenth edition better accommodates today's teaching schedules, as well as improves accessibility for students by concise insight and up-to-date vibrant production visuals. Students join the creative process with The Theatre Experience, and rehearse for their role as life-long audience members.

The ideal theater appreciation text for courses focusing on theater elements, "The Theater Experience" encourages students to be active theater-goers as they learn about the fundamentals of a production. By addressing the importance of the audience, Wilson brings the art of performance to life for students who may have little experience with the medium. .

The Art of Experience provides an interdisciplinary analysis of selected plays from Ireland’s premier female playwright, Marina Carr. Dagmara Gizło explores the transformative impact of a theatrical experience in which interdisciplinary boundaries must be crossed. This book demonstrates that theatre is therapeutic and therapy is theatrical. The role of emotions, cognitions, and empathy in the theatrical experience is investigated throughout. Dagmara Gizło utilises the methodological tools stemming from modern empirically grounded psychology (such as cognitive-behavioural therapy or CBT) to the study of theatre’s transformative potential. This book will be of great interest to students and scholars of theatre, performance, and literature, and will be a fascinating read for those at the intersection of cognitive studies and the humanities.

Draws on musicals, plays and experimental performances to show what theatre is made of and how we experience it.

The Theatre Experience prepares students to be well-informed, well-prepared theatre audience members. With an audience-centered narrative that engages today's students, a vivid photo program that brings concepts to life, and features that teach and encourage a variety of skill sets, students master core concepts and learn to think critically about the theatre and the world around them. As a result, students are better prepared for class, and better prepared for theatre going.

"Previous editions 2015, 2011, and 2009."

This book is the first full-length monograph to focus on Punchdrunk, the internationally-renowned theatre company known for its pioneering approach to immersive theatre. With its promises of empowerment, freedom and experiential joy, immersive theatre continues to gain popularity - this study brings necessary critical analysis to this rapidly developing field. What exactly do we mean by audience “immersion”? How might immersion in a Punchdrunk production be described, theorised, situated or politicised? What is valued in immersive experience - and are these values explicit or implied? Immersive Theatre and Audience Experience draws on rehearsals, performances and archival access to Punchdrunk, providing new critical perspectives from cognitive studies, philosophical aesthetics, narrative theory and computer games. Its discussion of immersion is structured around three themes: interactivity and game; story and narrative; environment and space. Providing a rigorous theoretical toolkit to think further about the form’s capabilities, and offering a unique set of approaches, this book will be of significance to scholars, students, artists and spectators.

The ideal theater appreciation text for courses focusing on theater elements, "The Theater Experience" encourages students to be active theater-goers as they learn about the fundamentals of a production. By addressing the importance of the audience, Wilson brings the art of performance to life for students who may have little experience with the medium. .

Since the turn of the century, Performance Studies has emerged as an increasingly vibrant discipline. Its concerns - embodiment, ethical research and social change - are held in common with many other fields, however a unique combination of methods and applications is used in exploration of the discipline. Bridging live art practices - theatre, performance art and dance - with technological media, and social sciences with humanities, it is truly hybrid and experimental in its techniques. This Companion brings together specially commissioned essays from leading scholars who reflect on their own experiences in Performance Studies and the possibilities this offers to representations of identity, self-and-other, and communities. Theories which have been absorbed into the field are applied to compelling topics in current academic, artistic and community settings. The collection is designed to reflect the diversity of outlooks and provide a guide for students as well as scholars seeking a perspective on research trends.

The Theatre of the Real: Yeats, Beckett, and Sondheim traces the thread of jouissance (the simultaneous experience of radical pleasure and pain) through three major theatre figures of the twentieth century. Gina Masucci MacKenzie's work engages theatrical text and performance in dialogue with the Lacanian Real, so as to re-envision modern theatre as the cultural site where author, actor, and audience come into direct contact with personal and collective traumas. By showing how a transgressively free subject may be formed through theatrical experience, MacKenzie concludes that modern theatre can liberate the individual from the socially constructed self. The Theatre of the Real revises views of modern theatre by demonstrating how it can lead to a collaborative effort required for innovative theatrical work. By foregrounding Yeats's "dancer" plays, the author shows how these intimate pieces contribute to the historical development of musical as well as modern theatre. Beckett's universal dramas then pave the way for Sondheim's postmodern cacophonies of idea and spirit as they introduce comic abjection into modernism's tragic mode. This exciting work from a new author will leave readers with fresh insight to theatrical performance and its necessity in our lives.

This collection of essays, which originally appeared as a book in 1962, is virtually the complete works of an editor of Commentary magazine who died, at age 37, in 1955. Long before the rise of Cultural Studies as an academic pursuit, in the pages of the best literary magazines of the day, Robert Warshow wrote analyses of the folklore of modern life that were as sensitive and penetrating as the writings of James Agee, George Orwell, and Walter Benjamin. Some of these essays--notably "The Westerner," "The Gangster as Tragic Hero," and the pieces on the New Yorker, Mad Magazine, Arthur Miller's The Crucible, and the Rosenberg letters--are classics, once frequently anthologized but now hard to find. Along with a new preface by Stanley Cavell, The Immediate Experience includes several essays not previously published in the book--on Kafka and Hemingway--as well as Warshow's side of an exchange with Irving Howe.

This book is about the centrality of movement, movement perception, and kinesthetic experience to theatrical spectatorship. Drawing upon phenomenological accounts of movement experience and the insights of cognitive science, neuroscience, acting theory, dance theory, philosophy of mind, and linguistics, it considers how we inhabit the movements of others and how these movements inhabit us. Individual chapters explore the dynamics of movement and animation, action and intentionality, kinesthetic resonance (or mirroring), language, speech, and empathy. In one of its most important contributions to the study of theatre, performance, and spectatorship, this book foregrounds otherness, divergence, and disability in its account of movement perception. The discussions of this and other issues are accompanied by detailed analysis of theatre, puppetry, and dance performances.

The ideal theater appreciation text for courses focusing on theater elements, "The Theater Experience" encourages students to be active theater-goers as they learn about the fundamentals of a production. By addressing the importance of the audience, Wilson brings the art of performance to life for students who may have little experience with the medium. .

This work takes a phenomenological approach to analyzing the dramatic form, focusing not on the interpretation of plays, but rather on Brownstein's perceptions and their sources. The distinct aspects of the dramatic art form are discussed using a wide variety of well-known plays, from ancient Greece to the present day. Brownstein offers a theoretical survey of the "perception shift" that infuses even the smallest element of a play, the forces that are expressed through major dramatic strategies, and the ways in which a single narrative sequence may serve both prospective and retrospective strategies.

Understanding the theatre space on both the practical and theoretical level is becoming increasingly important to people working in drama, in whatever capacity. Theatre architecture is one of the most vital ingredients of the theatrical experience and one of the least discussed or understood. In Architecture, Actor and Audience Mackintosh explores the contribution the design of a theatre can make to the theatrical experience, and examines the failings of many modern theatres which despite vigorous defence from the architectural establishment remain unpopular with both audiences and theatre people. A fascinating and provocative book.

A practical manual that focuses on theatre efficiency and time measurement, providing scheduling toolkits and problem solving approaches.

Future economic growth lies in the value of experiences and transformations--good and services are no longer enough. We are on the threshold, say authors Pine and Gilmore, of the Experience Economy, a new economic era in which all businesses must orchestrate memorable events for their customers. The Experience Economy offers a creative, highly original, and yet eminently practical strategy for companies to script and stage the experiences that will transform the value of what they produce. From America Online to Walt Disney, the authors draw from a rich and varied mix of examples that showcase businesses in the midst of creating personal experiences for both consumers and businesses. The authors urge managers to look beyond traditional pricing factors like time and cost, and consider charging for the value of the transformation that an experience offers. Goods and services, say Pine and Gilmore, are no longer enough. Experiences and transformations are the basis for future economic growth, and The Experience Economy is the script from which managers can begin to direct their own transformations.

In 1999, Joseph Pine and James Gilmore offered this idea to readers as a new way to think about connecting with customers and securing their loyalty. As a result, their book The Experience Economy is now a classic, embraced by readers and companies worldwide and read in more than a dozen languages. And though the world has changed in many ways since then, the way to a customer's heart has not. In fact, the idea of staging experiences to leave a memorable—and lucrative—impression is now more relevant than ever. With an ongoing torrent of brands attacking consumers from all sides, how do you make yours stand out? Welcome to the new Experience Economy. With this fully updated edition of the book, Pine and Gilmore make an even stronger case that experience is the missing link between a company and its potential audience. It offers new rich examples—including the U.S. Army, Heineken Experience, Autostadt, Vinopolis, American Girl Place, and others—to show fresh approaches to scripting and staging compelling experiences, while staying true to the very real economic conditions of the day.

"Experiencing Theatre completely engages the beginning theatre student in the art of theatre. Students become playwrights, dramaturges, actors, directors, designers, adapters and collaborators though dynamic readings and excercises. This text gives them a great awareness of the work of being a theatre artist. Teachers have long strived towards creating these opportunities for their Intro students--finally a text that will make it happen." --Barbara Burgess-Lefebvre, Robert Morris University