In this master thesis I set out to find out how the interaction operates and creates a greyzone
area between reality and fiction, and how this challenges the audience and their
For this I have chosen to do an auto ethnographical study from a phenomenological
perspective on two cases with the help from several theories about audience participation,
performance space, fiction-contracts, performer and audience roles etc.
My cases in this study are Ventestedet by SIGNA, and Lykkens Paradoks by Cantabile 2,
both of which have different approaches to audience participation and theater co-creation.
Ventestedet was an authored narrative in which you were admitted to the psychiatric
hospital Lagunen where different exercises and interactions with the staff and inmates
unfolded a story about the sickness 3P and its repercussions.
Lykkens Paradoks was a more de-authored performance installation, where different
rooms sought out to explore the inner workings of the audience as individual people.
What I found was that the two performances had different approaches to how they sought
to involve the audience, but common to them both was, that they grounded the audiencecharacters
in their real selves, which meant that both performances was based on a
ground level of reality. This brought up some interesting discussions about, what you are
allowed to put the audience through and in the end, I found out that the answer to my
problem formulation was that Ventestedet sought to challenge the boundaries of the
audience by being aggressive and manipulative, while Lykkens Paradoks sought to
encourage the audience in pushing their boundaries voluntarily by creating a form of “safe
space” for people to express themselves.
|Uddannelser||Performance-design, (Bachelor/kandidatuddannelse) Kandidat|
|Udgivelsesdato||1 jun. 2018|