THESIS PROPOSAL

John Howrey
DYNAMIC MEDIA INSTITUTE MASSACHUSETTS COLLEGE OF ART AND DESIGN

THESIS PROPOSAL

John Howrey
DYNAMIC MEDIA INSTITUTE MASSACHUSETTS COLLEGE OF ART AND DESIGN

TABLE OF CONTENTS

Area of Interest ................................................................ 1 Why? ................................................................................. 7 The State of the Art ........................................................ 11
STEPPENWOLF THEATRE AMERICAN REPERTORY THEATRE SIGNATURE THEATRE SECOND STORY SMALL DESIGN

My Work So Far ............................................................. 27

KILLING GAME MUSICAL THEATRE MAP COMMEDIA TOY THEATRE GHOST LIGHT BARD BEAT DOWN GHOST LIGHT: A PLAY

Potential Projects .......................................................... 41 Project Components ..................................................... 45 Thesis Abstract .............................................................. 50 Strengths and Weaknesses .......................................... 52 Resources ....................................................................... 53 Proposed Bibliography.................................................. 54

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My mother tells everyone that she knew Id be a musically-inclined guy from an early age. She uses this picture as proof. Only recently did we all realize that Im holding the ukulele backwards.

AREA OF INTEREST

My headshot. Age 21.

Second grade. St. Maria Goretti Catholic School. Arlington, Texas. The school choir always put on a musical in the summer and the choir director (and my piano teacher), Mr. Diaz, always had rather lofty goals. In the summer of 1986 he decided that our elementary school was ready for Gilbert and Sullivans The Mikado.
Looking back Ive always found it so sillythe unruly group of elementary school kids performing an operetta. Even though I was just playing a little Japanese man in the chorus, the entire experience was magical. Whether it was the carefully applied mascara moments before the curtain or the thrill of the applause I dont know, but this is where the theatre bug found me and latched on for dear life. I have found that theatre and design are full of parallels. For instance, pinned above my desk is a list of acting verbs. When Im stuck on a project I can refer to that list and treat the act of logo/poster/website

(above) Youll find me in the back of this photo from a production of Evita. (below) In summer 2011, I directed a production of The Mystery of Edwin Drood for Stoneham Theatres Young Company.

Although this energy flows chiefly from performer to audience the performer is rendered impotent unless he or she receives in return a charge from the audience. This can be laughter in a farce, a shared sense of awe in a tragedy and even a physical reciprocity to the achievement of dancer or actor. The energy must flow both ways so that the two forces fuse together to create an ecstasy which is comparable only to that experienced in a religious or sexual encounter.
THEATRE & AUDIENCE HELEN FRESHWATER

design as an acting exercise. What is my objective in this scene? What tactics will I use to reach this objective? This has often gotten me past many white page panic episodes. In fact, I am introducing my sophomore typography class to these types of concepts in their sketch work. The art of theatre lies in the hands of those in the seats and those on the stage, the watchers and the watched. As the act of theater-going becomes less and less a part of our culture, the art of watching is quickly becoming a lost art form. What role can dynamic media play in helping audiences become better watchers? How can dramaturgs use dynamic media and design to reach their audience? How can marketers take advantage of this new media to engage a new audience or retain existing ones? How can these things things be accomplished on a tight budget, remaining accessible for smaller theaters? What type of engagements would be of interest to an audience? How much learning is too much for an audience who is there to be entertained? These are the areas that Id like to research and explore in my thesis. A performance doesnt happen in a vacuumthe relationship from stage to seat is an absolute necessity. But as theatre-going has become less a part of the mainstream we have possible lost some of the ability to watch. Watching a play is not necessarily the same thing as watching a sitcom or a football game or a movie, though each in their ways are forms of theatre. Audience outreach is not a new thing for theatre, but often design is overlooked.
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(top) My camp students at Stoneham Theatre greet me before their Musicality Workshop. (middle) In my vocal class at Texas Arts Project, I like to give students the opportunity to dance it out on a regular basis. (bottom) With the pit band for Crazy For You at Stoneham Theatre.

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This lobby display for a production of Venus by Susan Lori Parks is well intentioned but horribly designed. Im sure a lot of passion is there, but as a designed experience it is atrocious.

WHY?

Selfishly, I want to combine my passions of theatre and design. For theatre, this research will create new forms of audience interaction, both deepening existing relationships and helping create new ones. For design, this research could start building a new consituencya new client base and help us understand the audience experience more.
A lot of theaters are trying to do lobby displays without basic experience design skills. Directors, producers and dramaturgs can be masters of effective communication and storytelling from behind the proscenium but dont bring those skills to play in the complete experience of visiting the thatre. This is not due to a lack of care or concern, but is usually a symptom of the lack of funding and support for non-profit arts organizations. If you find a lobby design for a show it will typically have been done at the last minute by volunteers or by members of the theater staff whose other responsibilities trump the task at hand. Similarly the social networking and other online interactions are generally handled by low-level employees or internsoften because they are young and more in touch with that technology.

Sadly, these people arent well equiped as storytellers or experience designers. Consequently, Twitter becomes a place to purely retweet congratulatory statements or post links to positive reviews. Facebook is often a place to promote ticket discounts or special offers. Even sadder, the website is usually nothing more than a digital version of the shows program with color photographs. Its not because of any deficit in intelligence at theatres where you always have incredibly bright folks toiling dilligently behind the scenes. The challenge is that not enough people are looking at these new forms of communication and considering whats the best way for a certain production or organization to use them. Theatres need guidance, leading toward a new paradigm of service design in the theatre. Even the simplicity of the question When does the play begin? may be enough to get the ball rolling for some. For most, though, clearly defined strategies and infrastructure recommendations will be key to great development. A specific list of equipment needs as a base for almost any sort of interaction would be a way to start. To encourage theatres to find local artists and designers to work with is another. It may also be that theatres need to be reminded of the importance of the totality of the audience experience. My initial research shows, too, that innovative dynamic media is seen as an unatainable magic that costs too much and takes too much time. This research should go a long way toward revising that opinion.

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Steppenwolf Theatre American Repertory Theater Signature Theatre Second Story Small Design

THE STATE OF THE ART

To build this deeper relationship with its audience, Steppenwolf has launched an ongoing dialogue around the process of creating theater. Audience members take part in nightly post- show discussions, attend special thematic events, and enjoy a rich selection of online contentincluding multiple videos, pod- casts, blogs, articles, and slide showsin which the artists discuss their work from multiple perspectives. STEPPENWOLF THEATRE Steppenwolf leads the way in audience outreach with significant online experiences and detailed, rich lobby displays and special theatrical events designed to enrich and inform each play.

STEPPENWOLF THEATRE COMPANY LOBBY DISPLAYS

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During its 31-year history, the A.R.T. has welcomed many major American and international theater artists, presenting a diverse repertoire that includes premieres of American plays, bold reinterpretations of classical texts and provocative new music theater productions. AMERICAN REPERTORY THEATRE The A.R.T is one of the leading regional theatres in the United States.For years it has been recognized for producing ground-breaking, thoughtprovoking work. Though their lobby designs often falter, the fact that they make an attempt hints at a need for more research into how best to present information to the audience.

AMERICAN REPERTORY THEATER

Signature is the first theatre company to devote an entire season to the work of a single playwright, including re-examinations of past writings as well as New York and world premieres. By championing in-depth explorations of a living playwrights body of work, the Company delivers an intimate and immersive journey into the playwrights singular vision. SIGNATURE THEATRE Signature takes its mission seriously and uses lobby displays to further the audiences understanding of each playwright. Their new Gehry-designed space was created with this mission in mind and features not only prominent portraits of previous seasons playwrights but also houses large touch screens for season-wide and showspecific dramaturgical work.

SIGNATURE THEATRE

We create media experiences that harness deep sources of content and tell compelling stories. We start with content and concepts and build stories that guide people through a journey of their own choosing. SECOND STORY Second Story grabbed me immediately. Striking visual displays for nonprofits that are beautiful to look at and are striking in their interactions. Conceptually strong and emotionally compelling, they are leaders in the world of experience design.

SECOND STORY

In making information accessible to people, it is necessary for designers to rethink current design paradigms. By taking advantage of the ability of the computer to display dynamic, flexible, and adaptive typography and imagery, we can invent new ways for people to read, interact with, and assimilate information. Likewise, the combination of innovative visualization with architectural space and well-designed physical interfaces puts potentially limitless spaces within a human context. SMALL DESIGN The interactions are thoughtful in whatever scale or medium they are presented in. Typographic detail, aesthetic brilliance and technological savvy all come in to play for life-changing interactions.

SMALL DESIGN

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MY WORK SO FAR

KILLING GAME RADIO

Eugene Ionescos Killing Game is the comic tale of a plague-ridden town. Ionesco is less concerned with death itself than what happens to human beings in a society that perceives itself under threat. He is exploring how easily human freedoms are compromised and manipulated by fear. Killing Game Radio is an interactive object that should be experienced in the lobby of a theatre during a production of Killing Game. Based on frequencies found on the am dial in 1953 Dallas, Texas, this radio works and sounds just like a normal radio. Mixed among sounds one might have heard thenpop music, tejano, country, jazzthere are other curated stations which carry a sense of death and darkness. Every song is at the height of an emotionhappy, sad, exultant, remorseful. Within the 30 minute loop there are news reports of the plague sweeping the nation. In the Absurdist tradition, none of the news reports provide useful information. Just

when they are about to tell you how to remain safe or where the virus has spread, static takes over and renders the information useless. What would you do if a plague were coming? How would you react? What if you could get no real information? How will your freedoms be compromised and manipulated by fear? By inviting the audience to consider these questions before and after, inside and outside the auditorium, we can enhance their experience of the play. This has been a good example for the people Ive talked to about my thesis. First, it provides a simple and tangible example of a new kind of lobby interaction. It also is a good example of how budget-friendly (money and time) my proposition could be. If a theatre puts a little effort into building an infrastructure of tools, the cost of this stuff could be nill. (The radio cost me $25 at the store, but a theatre might have pulled one from prop storage.)

MUSICAL THEATRE SUBWAY MAP

This map was designed as a tool to help students learn about musical theatre history. At first I wanted to create a database of songs that would help auditioners find good audition songs. You would enter information about the part you are trying out for and it would return songs that are appropriate. (See Info Arch project about audition songs.) I tested the idea in a workshop in which I worked with students to develop a repertoire of audition materials, asking them questions about what parts they would want to play and then giving them appropriate songs based on my criteria. But what I realized was that while the students left with a treasure chest of song choices, they didnt actually learn how to pick songs for themselves. Rather, they just asked me to tell them and didnt learn from watching me pick for them. I went back to square one and reflected on how I was able to pick songs. What it came down to was 2 things: Im fairly well-versed in musical theatre history and the act of choosing good audition songs came down to drawing a connection between the show youre auditioning for and the song you choose to sing. I looked at one of the first questions I ask myself when choosing audition material: what other shows did these creators work on? Often writers have similar So, the project changed courses and become about learning the history as a series of connections.

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COMMEDIA TOY THEATRE

Exploration of storytelling via a projector-enabled toy theatre. Through the stock characters of Commedia dellArte, users are invited to use the provided standard stories of Commedia or take advantage of the broad range of possibilities within these tropes. Moving the figures on and off the stage causes changes in lighting and sound to correspond with the characters defining traits. Simple props and set pieces will trigger scenes. Users can choose to jump right in and put on a show, use the provided scripts as outlines for the action or choose to enter rehearsal for a more dictated and descriptive experience.

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GHOST LIGHT
The ghost light is a light left on in the theatre after all the other lights have been turned off. It is burning when the last person leaves and remains when the first person arrives the next day. There is a constancy in the theatre; something is always going on. The reason for a ghost light is actually fairly unromanticits rather practical for something with such an elegant nature. Historically, theaters generally do not have light switches inside the doorsespecially those from a time without electricity. One would have to walk backstage to a ignite a dimmer to turn on the lights. A ghost light made sure that one would not fall into an open pit or bump into set pieces. In this respect, a ghost light is a safeguard. It has taken on a richer meaning, though, as a piece of theatrical folklore. Many people think it is there to communicate with the ghosts of the theatre. They think it keeps the ghosts from harming the stage at night or, alternately, it keeps the ghosts company when everybody has left. Many actors feel very close to the people who have played their roles in the past. Hamlet, for instance, has been played by thousands of actors and each of them leaves a little something of themselves behind. Each night you play a role, you make your mark and leave it there as a part of the spirit of the building. It is that spirit that the ghost light is there to comfort and remind you of. The ghost light serves as the memory of the theatre, reminding you of what has been left behind. So I wanted to think about where we spend a lot of our time and where we unwittingly leave a mark. What if we could see remnants of our past selves? I chose to confine this work to a subway. Many of us spend a lot of time down in those tunnels. I decided to create an experience for riders of the mbta subway system. On the walls opposite the platforms they will be able to see reflections of the previous 24 hours. They are simple silhouettes, reflecting the actions on the platform 24 hours before. In addition there will be vague statements and observations about the previous day. Using data collected through the capture, we will create observations comparing yesterday and today. For instance, it may say, More people are wearing black today than yesterday or People are walking faster today.

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FEAR NO MORE SHAKESPEARE UNCHAINED

BARD BEAT DOWN 1.0

To lessen the fear of Shakespeare using humor as an entry point. Printed forms allow you to leave a personalized Shakespearean insult for a friend or enemy. A matching website allows users to respond with their favorite insults, share images and use the automated insult generator to send a jibe to a friend.

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3. ACT [1] SCENE [1]

GIELGUD I'm telling you, it comes from an Icelandic noun. Amlooi. Meaning fool. (Looks at Booth.) BURBAGE Absolutely not. We knew it from some common Irish tale. The character was stark raving mad. Always screaming about something... you know the Irish... Amlodhe. Amlaidhe. BERNHARDT

BURBAGE Exactly. Willy loved listening to those stories. He stole from the best. OLIVIER

GIELGUD You would know, bloody lush. OLIVIER Blow it out your ass, fairy. BOOTH Gentlemen! There are ladies present. Where? BERNHARDT OLIVIER (points to Gielgud)

Right there.

FEAR NO MORE SHAKESPEARE UNCHAINED

GHOST LIGHT, A PLAY

Five actors who famously portrayed Hamlet in their lifetimes help a young high school student as he tries his hand at the role. With a nod to Tom Stoppard, this playwriting exercise created a wonderful opportunity to consider what it means to learn from the past as we prepare for the future. While a significant project in its own right, this also plays a part in the Fear No More project, exploring what it means to approach a Shakespearean role and how we can all tap into the passion of each of his plays.

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POTENTIAL PROJECTS

In 1968, Peter Brook insisted in The Empty Space a text that is now a well-worn touchstone in theatre studies that he could take any empty space and call it a bare stage, observing: A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.

4N+!6()N3 // SUMMER 2012 OBJECTIVE: Perform Antigone on Twitter. IDEA/CONCEPT: What are some ways for performance to reach beyond the auditorium and theatre walls? What does a performance on Twitter look like? FINAL FORM: Tweets BARD BEAT DOWN 2.0 // SUMMER 2012 Create website with new interactions. IDEA/CONCEPT: Insult generator with sound and animation. FINAL FORM: Website, Mobile App
OBJECTIVE:

LOBBY DISPLAY FOR PROFESSIONAL PRODUCTION // FALL 2012 OBJECTIVE: Work with a professional theatre in the creation of a dynamic lobby display for an actual show. IDEA/CONCEPT: Specific idea/concept dependant on the production and guided by the direction of the theatre staff. However, it must be genuine, accessible, driven by content and engaging. Many projects in one. FINAL FORM: Mixed DRAMATURGICAL CAMPAIGN FOR LOCAL PROFESSIONAL PRODUCTION // FALL 2012 OBJECTIVE: Work with a local professional theatre to create an online dramaturgical campaign for a particular production. IDEA/CONCEPT: Work with a theatre that is using social media well to sell tickets and see how dramaturgical outreach can be used to engage the audience. FINAL FORM: Social Media, Mixed
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SHAKESPEARE CLASS // FALL 2012 Observe and react to the lower level Shakespeare class at mit. IDEA/CONCEPT: Work with Professor Diana Henderson to facilitate ice-breaking exercises for this class that is made of students fearful of Shakespeare or not comfortable with the language. FINAL FORM: Exercises, Writing, Observation
OBJECTIVE:

LOBBY IDEA BOOK // SPRING 2013 To record and sketch lobby displays concepts for various shows. IDEA/CONCEPT: Take commonly produced shows for high schools and compile ideas and sketches for resource-minded lobby displays. The book will not A resource for lobby display practicioners and providing proof of concept. Even the slightest pieces can have an engaging display or campaign. FINAL FORM: Book, Sketching, Writing
OBJECTIVE:

SO YOU WANNA MAKE A LOBBY DISPLAY // SPRING 2013 OBJECTIVE: To create a simple criteria and rough guide for the creation of a successful lobby display for school or community theatre programs. IDEA/CONCEPT: Taking what Ive learned from the acts of research and making, create a quick and easy guide for educators to work with their students to create compelling and dynamic dramaturgical displays for their school productions. FINAL FORM: Writing 8:30, ALWAYS // SPRING 2013 OBJECTIVE: My general statements about when the performance begins and how it never ends. IDEA/CONCEPT: A call to action. Tonight at 8:30 is no longer the norm. Now were in a #neverdark world and need to invite our audiences at all hours, not just when we want money from them. FINAL FORM: Writing

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PROJECT COMPONENTS

There is no one-size-fits-all answer to this question when it comes to my topic. What may work or one production may not work for another. I will go through a couple of examples and turn the question around to be a bit more answerable.
A very important consideration with design of this type is that the experience should come from the content. For some productions, a quiet experience may work. For instance, a production of The Glass Menagerie would benefit more from an introspective lobby experience asking the patron to reflect on their familial relationships. Alternately, A Streetcar Named Desire might want to plunge you into the nightlife of New Orleans with an intense aural and visual kaleidoscope. The types of experience here are not about the way they are made. Rather, they are conduits to the audiences mindreaching in to help them reach out during the performance. The worst possible thing would be to have a completely opposed experienceunless a surprising juxtaposition is what is called for. If one were to go see a traditional production of No Exit and were presented with an rock concert in the lobby, the preparation would be incorrectly conceptualized.

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Williams at odds: (above) The delicacy of The Glass Menagerie versus the raw brutality of (below) A Streetcar Named Desire.

A metal band would not necessarily be the natural companion for a production of Sartres No Exit.

There may be a need for a completely immersive preshow experienceone that feels like a ride than a lobby. Imagine a production of The Rocky Horror Show. If your ticket was purchased enough in advance you might receive a wedding invitation from Brad and Janet. In your email you receive news reports about strange happenings at the castle on the hill. You could also choose to follow the Magentas Twitter feed or read some of Riff-Raffs blog. The night of your scheduled performance, you get weather alerts: a storm is approaching and late night travelers, especially young newlyweds, should be extra cautious. Entering the lobby you find yourself at a wedding reception for the aforementioned couple. Moving further in you discover the atrium of Dr. Frank-n-Furters castle. You are surrounded by odd and surprising gadgets, absurd family portraiture and other errata of the show. There is sound, perhaps music from the show or maybe other things that are inspired by the concept behind this particular production. Moving images are on display: a series of security camera spread around the theatre mirroring the system that Frank has set up in his lair. A major takeaway in this lobby is that you have a chance to learn about the history of Rocky Horror as you pick up your audience participation bag and are benignly molested by the cast as a Rocky virgin. The lobby is raucous and thoroughly engaging. An usher leads you to your seat just before she begins singing Science Fiction: Double Feature. A couple of months later you buy tickets to a production of Rodgers and Hammersteins Oklahoma. This production happens to be a faithful reproduction of the original. You bought a ticket for your daughter and receive an emailing inviting you to a special event at the local childrens museum that focuses on frontier women. Meanwhile you notice the theatres website has a blog from the dramaturge all about the process of faithfully recreating the original Broadway production. There is an interview with the line surviving member of the original cast. It was her first Broadway show and she tells of the joy of that opening night. You are
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Example of a pre-show flow for a production of The Rocky Horror Show. Notice that you can choose exacrly what youd like to participate in.

invited to submit a statement about the first time you went to the theatre. You choose to record a video using a system on their site that accesses your webcam. Finally its the evening of the performance. You and your daughter arrive at the theatre to find three distinct lobby displays. First is a gallery of memorabilia from Oklahomas original run. There are photographs and original costume pieces tastefully arranged. In another area is a simple display of screens displaying the responses from the website. Your daughter lights up when she sees your video appear. Finally, theres a section commemorat-

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Sketch of an experience of Oklahoma. Much simpler and quieter than the one for Rocky, but no less engaging and thought-provoking. Again, notice that you can choose exacrly what youd like to participate in.

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ing the museum event and your daughter shows you how she learned to churn butter. The lobby is quiet and thoughtful. You notice that the theatre staff is dressed like ushers in 1949 as they guide you to your seat. After the show there are reporters in the lobby asking all of the kids about how much they enjoyed their first time at the theatre. These videos become a part of the lobby display and are shown on the website These few examples show how varied a pre-/post-show experience could work. A production of Rocky Horror would call for a different type of experience than one of Oklahoma. Each, though, has the same goal: to prepare you mentally, emotionally and physically for the show you are about to see. My hypothesis is that designers, producers, directors and dramaturges who want to enhance the pre-show experience should build an inventory of equipment. A varied selection of electronics and such would allow for nimble reactions to the needs of each show. This cache could include projectors and sound equipment for large display, small screen for intimate/solo use, arduino board and accoutrements for physical interactions and a couple of fast machines to handle various needs. Also on hand should be a variety of designers, artists and engineers to call on for specific needs. The needs will vary from space to space, too. A smaller lobby like The Huntington Theatres could not handle the flow of patrons as well as giant physically interactive experiences. The Loeb Drama Center, though, home of American Repertory Theatre, has room to spare and could easily handle engrossing experiences in a more museum-exhibit-like experience.
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ABSTRACT

The art of theatre lies in the hands of the watchers and the watched; it is a conversation between actor and audience. A performance cannot happen in a vacuum and this relationship from stage to seat is an absolute necessity. Watching a play is not necessarily the same thing as watching a sitcom or a football game or a movie, though each in their ways are forms of theatre. But as theatre-going has become less a part of the mainstream we have possible lost some of the ability to watch. Lately, Ive been asking myself: When does the play begin? Instead of at the dimming of the house lights, the experience of a show begins long before the curtain has risen. It may be that the title alone provokes thought. It may also be that the poster design inspires an new perspective, as could the act of purchasing a ticket or even the ride to the theatre. All these events have an effect on each audience member. More often than not, though, an audience is left to its own devices once the ticket has been purchased. Following the
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performance, too, an audience is led out of the aisles and, too often, must actively search for opportunities for continued exploration and personal discovery. Outside of the auditorium theatre are losing a great opportunity for discussion. Theatres have an incredible asset that is often overlooked as a simple transitional space: the lobby. More often than not, a lobby is treated as nothing more than a hallway and a separate box office area is not much more than an entryway. And this lobby can become an expanded idea, reaching outside of the walled boundaries of the performance building and encompassing the entire physical and mental journey to and from the theatre. By combining the tenets of service design, dynamic media and dramaturgical outreach how can we deepen the audiences experience of watching a play? How many ways can we touch a patron and help them understand what they are about to see or have just seen? How can we extend the experience of a show outside of the theatre auditorium? How can the entire pre-/post-auditorium event be better designed?
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STRENGTHS & WEAKNESSES

WHAT DO I NEED TO READ, LEARN?

I will be studying concepts of lobby architecture theory, the relationship between audience and stage, and marketing efforts in new media. Additionally I will be learning about service design and considering how it can play into the theatre-going experience. Finally, I want to learn more about the philosophies of theatre and aesthetics with regards to audience.
WHAT NEW SKILLS DO I NEED?

I need to build on my programming skills to be nimble with project opportunities. I also want to develop stronger building and construction skills for building physical displays.
WHAT DO I ALREADY KNOW?

I am confident and comfortable with most aspects of visual design, some programming, environmental displays, theatre lingo

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SELECTED RESOURCES
THEATRES
+ + + + +

American Repertory Theatre, Cambridge, ma Steppenwolf Theatre, Chicago, il Alley Theatre, Houston, tx Signature Theatre, New York, ny Huntington Theatre, Boston, ma
PEOPLE

+ + + + +

Diana Henderson, mit Janet Sonenburg, mit Dramaturgy Program, art Bevin OGara, Huntington Theatre Caitlin Lowans, Stoneham Theatre

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PRELIMINARY BIBLIOGRAPHY
Freshwater, Helen. Theatre & Audience. Houndmills, Basingstoke, Hampshire, UK: Palgrave Macmillan, 2009. Print. (Ebook) An argument for more audience-responses approaches for theatre. Freshwater analyzes the relationship between the watcher and the watched, exploring way in which the audience has been and can be brought in to the world of the stage. Hamilton, Clayton Meeker. The Theory of the Theatre, and Other Principles of Dramatic Criticism,. New York: H. Holt and, 1910. Print. (Ebook) Woodruff, Paul. The Necessity of Theater: The Art of Watching and Being Watched. Oxford: Oxford University, 2008. Print. (Ebook) Woodruff explores the philosophy of aesthetics as it pertains to the theatre. Among his many exciting points, he points out that, while traditional theatre-going may be on the decline, theatre is all around us and the modern audiences ability to watch has only been strengthened by its presence. Jonas, Susan, Geoffrey S. Proehl, and Michael Lupu. Dramaturgy in American Theater: A Source Book. Fort Worth: Harcourt Brace College, 1997. Print. What we think about when we think about theatre. Meaning and message and all the components of a dramaturgs mind are compiled in this source book. Bernstein, Joanne Scheff. Arts Marketing Insights: The Dynamics of Building and Retaining Performing Arts Audiences. San Francisco: Jossey-Bass, 2007. Print. (Ebook) Though from a marketing approach, this study of how audiences can be reached by the arts is intriguing. Written before service design was a common idea, this book speaks, in part, of trying to reach audiences on their terms. Such a specifically focused modern book on the state of arts marketing is a unique find and combined with texts about service design should provide strong insight.

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Bennett, Susan. The Role of the Theatre Audience a Theory of Production and Reception. Diss. McMaster University, 1989. Web. This thesis examines the reception of theatrical performances by their audience. It shows how cultural systems, individual horizons of expectations and accepted theatrical conventions all activate the reception process and that all these are open to revision in the experience of performance. Concern is placed on an individuals culturally-constructed expectations which can be both met and/or challenged in a diverse range of contemporary theatrical performances. Kilpatrick, David R., Cheryl Black, and Suzanne Burgoyne. The Theatre Lobby Experience the Audiences Perspective. Diss. 2010. Print. Using the qualitative methodology grounded theory, analysis of directed interviews were collected for this study, and the following theory emerged: An audience member with enough time, space, and awareness encounters a person, an activity or some material goods that seizes his or her attention, resulting in a connection with the static, the public, the private or the performance. Consequently, the audience member experiences an individualized and memorable event experience. Three conditions are required for attention: space, time and something or someone compelling to the individual audience member. Under the right conditions, an audience member gives attention to the building, its contents, people, or activities inside. The attention leads to an interaction with some of these various elements, which leads to a memorable lobby experience. Harlow, Bob, Thomas Alfieri, Aaron Dalton, and Anne Field. Building Deeper Relationships: How Steppenwolf Theatre Company Is Turning Single-Ticket Buyers into Repear Visitors. Bob Harlow Research and Consulting, LLC, 2011. Print. Wallace Studies in Building Arts Audiences. Ebook. In-depth review at the outreach and marketing programs at Chicagos Steppenwolf Theatre in which an ongoing conversation about the work on the stage is engaging audiences in new ways.

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The original source of this book was created in Adobe InDesign and output as PDF. Images in the book were enhanced and edited using Photoshop. The fonts are Chaparral and Avenir. Book designer: John Howrey May, 2012