Thesis (D. Min.)--Gordon-Conwell Theological Seminary, South Hamilton, MA, 2004. / Abstract and vita. Includes bibliographical references (leaves 113-123).

Thesis--University of Wisconsin. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 229-238).

Thesis (D. Min.)--Gordon-Conwell Theological Seminary, Charlotte, N.C., 1998. / Abstract and vita. Includes bibliographical references (leaves 255-264).

Thesis (D. Min.)--Gordon-Conwell Theological Seminary, South Hamilton, MA, 2004. / Abstract and vita. Includes bibliographical references (leaves 113-123).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1953. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Bibliography: leaves [169]-172.

Thesis (D. Min.)--Gordon-Conwell Theological Seminary, South Hamilton, MA, 2004. / Abstract and vita. Includes bibliographical references (leaves 113-123).

This project attempts to establish a base for future work in theatre audience research. The project was a survey of audience expectations of, and reactions to theatrical productions. Two specific aspects are examined. These are (1) the relationships between audience expectations and reactions and (2) the effect on audience response of a series of productions. In addition, the data was examined to discover general trends in audience attitudes, in so far as this was possible in so small a group. Three Vancouver productions were chosen for the purpose of the survey. These were the Frederic Wood Theatre production of As You Like It, the Playhouse production of Tango, and the Dorothy Somerset Studio production Inside the Ghost Sonata. Thirty-six participants were divided into three groups of twelve each. Each group was divided by age and sex, half being under twenty-five years of age. This division did not reveal any significant trends. The participants were examined by a series of questionnaires. The first was the General Questionnaire, which assessed each individual's background, outlook and experience of the theatre. The second was the Pre-Production Questionnaire which they completed before each production. Its purpose was to elicit an indication of their expectations. The third was the Post-Production Questionnaire, which concentrated on the participants' response to each production. The relationships between expectations and reactions and the cumulative effect of attendance on response are discussed at length in this paper. After an examination of the data, one important trend appeared. Apparently, the participants assimilate and evaluate theatrical productions according to a rigid and firmly established frame of reference. This does not always coincide with their enjoyment and it seems to inhibit critical and objective response. Future work might discover how prevalent this frame of reference is, its nature and its influence. There is an indication of a relationship between the fulfillment of expectations about a play's type and intention and the subsequent enjoyment and approval of the production. There is also some suggestion that the participants subconsciously interpret the performance to fit their expectations of the play's type and intention. The main cumulative effect of continuous exposure to productions appears to be the maintenance and reinforcement of the pre-established frame of reference. Specific points about audiences and audience response which deserve more extensive study are presented in the Conclusion of this paper. These include questions about the composition of audiences, audience expectations, attitudes to acting, costumes and scenery, and participants' frame of reference and general response to productions. / Arts, Faculty of / Theatre and Film, Department of / Graduate

Thesis (Ph. D.)--University of North Carolina at Greensboro, 2007. / Title from PDF title page screen. Advisor: Christopher Hodgkins; submitted to the Dept. of English. Includes bibliographical references (p. 155-163).

Typescript. / Digitized by Kansas Correctional Industries

Encouraging audience engagement is a challenge that confronts all interactive artists. If an audience member does not interact or does so in a cursory manner, then it is unlikely that the artistic aims of an interactive artwork will be met. The research project under discussion here approached this challenge by focusing on play as a way to encourage both audience engagement and exploration. Using practice-based research methods the project aimed to develop design strategies for stimulating a play experience within an interactive art context. The research process began with the creation of two interactive artworks and the development of a framework of thirteen characteristics of a play experience. These characteristics are: creation, exploration, discovery, difficulty, competition, danger, captivation, sensation, sympathy, simulation, fantasy, camaraderie and subversion. This play framework was then used during the creation processes of a third and fourth interactive artwork. Two subsequent evaluative case studies assessed the playful characters of these four artworks within an exhibition context. They also explored the usefulness of the play framework as a tool for both evaluation and design. The findings from these case studies suggested that the play framework was indeed a useful tool for design. They also suggested three additional design strategies for evoking play experiences within an interactive art context. First, to work with patterns and ambiguity to create a rhythm between rule-based play and improvisational play; second, to use the relationship between action and representation to connect with the emotional and sensual memories of an audience; and finally, to use robustness and responsiveness to give an artwork a vital and playful character and make it an equal participant in the play experience. The findings from the case studies also led to a greater understanding of techniques for installing playful interactive art. Exhibition signage was found to be important for creating an environment conducive to play and for shaping and directing a play experience. The studies also revealed audience play preferences for either puzzle solving or sense-making. An awareness of these preferences, it is suggested, could help exhibition designers to create an environment that will maintain the boundary of play. Finally, the findings from the case studies led to a greater understanding of techniques for evaluating playful interactive art. The play framework was found to be useful during evaluation for collecting detailed data about play experiences and for developing a common language between artist and audience. The use of social pairs as participants was found to help reduce anxiety and encourage play. The sobering effect of evaluation anxiety was also reduced by using peers as participants and by giving participants some training in the practice of doing evaluations. Finally, in order to maintain the play spirit it was suggested that the experience of doing an evaluation needs to be designed to be playful itself. These findings will be valuable for any artists and curators of interactive artworks that aim to evoke a play experience. They will also be of use to those within the general interaction design community, particularly designers focused on the creation, evaluation and exhibition of playful interactive systems.