This dissertation addresses a significant gap in audience-orientated criticism by introducing a new approach to theatre audience research: audience contribution through the vehicle of a postperformance discussion. Audience contribution considers the physical and vocal behaviour of audience members as contributions to the theatrical event. Much scholarship has concentrated on the written and performance texts. What I posit as the audience text, comprised of audience contributions, has been predominantly ignored. The audience text is an integral part of the theatrical event that changes, adds to and informs the theatrical experience for audience and arts professionals alike. Over the past century the audience role has changed from interactive contributor to passive receiver. For the contemporary theatre audience member, opportunities to contribute to the theatrical event have been limited to laughter, applause and consumerist practices such as the purchasing of theatrical merchandise. Similarly in much theatre audience theory, audiences are perceived as passive receivers of the drama whose only active contribution is through autonomous cognitive meaning-making processes. The study takes into account the extant audience theory of audience reception and builds on this. Post-performance discussions, which have risen significantly in popularity in the last decade, are an under-explored and under-utilised avenue for audience contribution. A new method for the facilitation of post-performance discussions that encourages audience contribution and privileges the audience voice is introduced. Case studies of post-performance discussions held after performances of Anne of the Thousand Days and Who’s Afraid of Virginia Woolf? trial this new discussion model. An audience text is created that informs the theatrical event and a new role for the contemporary audience is discovered: audience critic. Through the post-performance discussions, audience members become active contributors to, and co-creators of, the theatrical event. Audience contribution has significant implications for audience theory and theatre practice alike.

The purpose of this study was to examine the effect audience types have on young tennis athlete’s performance and behaviours and to investigate how previous experiences, social relationships, and audience awareness correlate to audience effect and coping strategies. Participants (n=4) (m=11.5 years) were given 4 weeks task-motivational climate training followed by 2 match days consisting of 5 matches of varying audiences; no audience, family, others, coaches and cameras. Quantitative data was evaluated by experts. Qualitative data was obtained by post-match semi-structured interviews. Each participant displayed different reactions to audience effects. Quantitative results were not generalizable but were used in interviews to stimulate participants. General themes of audience types were found; cameras resulted in physical appearance awareness, coaches resulted in mistake avoidance, and no audience resulted in lower concentration levels. Playing tennis helped develop coping strategies for performance in public, where further training by stimulation of various audience types was highlighted. These results support previous theoretical frameworks but highlight a need of further emphasis on audiences. A Multi-dimensional Model of Audience Effect in Athletic Performance was proposed. Training in front of varying audience types should be implemented in tennis training, and further research into different sports is needed.

摘　要 本論文研究主題為「國片閱聽人」，想要了解觀賞國片的閱聽人的觀賞動機、是否獲得滿足等；本研究的研究方法，採取「調查法」與「深度訪談」法併行，先詢問一般國片閱聽眾，之後再依據調查結果，以滾雪球方式，尋找深度訪談受訪者。 根據本研究調查發現，國片閱聽人觀賞國片的頻率以半年一次最多，而觀賞動機與觀賞後的滿意度都不強，研究並發現觀國片的頻率高低，不會影響對國片的滿意度。研究結果可以解釋近年來國片票房不佳的現象。 雖然國片閱聽人對國片觀賞動機與滿意度都不佳，但透過交叉分析，本研究發現有一群國片的「核心觀眾」，這一群核心觀眾觀看國片的頻率為至少每二個月看國片一次，而他們對於國片的觀賞動機與滿意度，都普遍高於非核心觀眾。 根據本研究發現，這一群國片的核心觀眾的人口變項為，三十歲以下、職業為學生、大眾傳播與藝術相關工作者；對於國片觀眾觀賞動機與滿意度普遍高於非核心觀眾，他們對國片也普遍有比較多的想法。 本研究進一步進行深度訪談後發現，國片閱聽人對於觀賞國片動機不強與滿意度不高的原因包括，「國片得獎不一定好看」，看國片不能讓閱聽眾有「放鬆」的感覺，無法融入劇情中，「會覺得很失望」，「沒有聲光效果」及「畫面不夠美」等。 　　閱聽人對於國片的建議，則包括「導演功力」與「劇情表現」再加強、「行銷與宣傳」也相當重要，「明星制度的培養」、「政府的角色」、「產業結構的變革」等，都是受訪者認為，當前國片環境需要有的改變。 　根據上述研究結果，本研究向國片業者提出建議，國片業者在策劃與開拍電影響，應針對學生、三十歲以下的主力族群，走向年輕化、更接近市場的核心；而國片觀眾中也有為數不少的大眾傳播行業與藝術行業的背景者，因此，也應就行銷角度，就這二類職業背景的閱聽眾，進行市場調查，以拍出符合他們動機與滿意度的國片。並搭配包括口碑、人際行銷，與其他的行銷工具，才能讓國片在市場上立足。 / Thesis Abstract This paper is mainly dealing with the subject on " Audience for local-made films in Taiwan" and trying to find out the reasons why people go to the local-made movies, and how they felt about the movies afterwards. Such study is approached in two ways—general questionnaire and in-depth interviews with individuals. After the general questionnaire, in-depth interviews with selected individuals from questionnaire results are proceeded. This study indicates that most people go to a local-made movie once every six months. They often find the movies uninteresting and not worth watching, either. Moreover, the questionnaires reveal that even one goes to a local-made movie more frequently is not necessarily more satisfied . Such results imply the unpopularity and the unsuccessfulness of the local movie industry. Although the general public is not quite satisfied with local-made movies, there is a specific group of moviegoers who are often more supportive and they go to a domestic movie at least once every other month. This supporting group of domestic movies primarily consists of students majoring in mass media or arts. Most of them are under the age of thirty. They also have more thoughts and ideas about domestic movies. In deeper investigations of this study, we generalize the following reasons why people dislike domestic movies: “an awarded movie is not necessarily worth watching,” “domestic movies are not relaxing enough,” “the plots are not easy to relate to,” “it’s disappointing,” “the sound effects and the pictures are not as attractive as foreign movies,” and “the picture is not well-filmed.” Moviegoers suggest that the domestic movie directors to improve their directing skills, plots, and advertisement/propaganda. Furthermore, the training of the actors , the role of the government, and the innovative changes of domestic film industry are the main point of views from the interviewees. In conclusion, analyzing all questionnaires and interviews , we suggest those who associate with domestic movie industry, in terms of filming and playwriting, aim at younger population, and those who associate with media and arts as well. In marketing, more surveys will help the movie associates understand the trends of the market and film better , and hopefully obtain a better reputation for local-made movies in Taiwan.

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Various types of radio stations started on business since government opened the radio frequency license at 1993. However, the population of radio audiences have been decreasing because of the big build up in powerful TV network and internet world. Thus it is important for the radio station owners and mangers to seriously consider this issue. Possible solutions include how to utilize media advantage of radio station, how to understand listeners¡¦ motivation and situation, how to give the best and acceptive programs to listeners, and how to produce the most effective package to our customers. Research on radio listeners had been only focused on population pronumeral to find the listening behavior and stay tune motivation. In this study, we employed the situation method from Dervin¡¦s Sence-making theory to investigate listeners listening behavior in one specific space-time domain. We study relationship between stay tune motivation and situation by colleting questionnaires at Kaohsiung area to analyze correlation among different listening motivation, time situation, space situation and mental situation. The study used a convenient sampling approach to collect sample in Kaohsiung area. A total number of 486 samples were collected and analyzed. The analysis results are as follow- 1.Different listening motivation results in different listening time situation. Audiences tend to listen to radio programs to get more information in the morning. In contrast, they listen to radio programs to get relaxed and comfortable in the afternoon and evening. Due to limitation of listening time, the information should be broadcast in easy, short, exact and simple way. Program with emotional and comfortable purpose should be increased. 2. Listening motivation and listening space situation are correlated. Audiences tend to listen to radio programs to enhance their knowledge when they go to work. On the other hand, they use radio as an accompanying media when they are on the office. On their way to home or at home, broadcast is used for accompanying and emotional attribution. Radio program is for entertainment purpose when audiences are alone. If their friends or family members stay around, the function of accompanying will be changed by people communication. The motivation of listening become emotional attribution, the rate of accompanying by other people is a little bit higher. 3. Listening motivation and listening mental situation are correlated. A high proportion of radio listeners are satisfied with radio programs regardless of what type of motivation. This is especially true when listeners want to get more news and information. In summary, we found that motivation and situation play important role to radio audience. The owners and managers of radio stations should develop effective strategy on these issues in order to provide better service to their customer.

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The art of storytelling is one of the oldest forms of creative discourse. Apart from finding stories, the most important job in television is the construction of stories to have a broad audience appeal. This first-hand review of Missing Persons Unit, hereafter referred to as MPU, a prime time program on the Nine Network in Australia with immense audience appeal, is an original work by the executive producer (development and series producer Series One, executive producer Series Two and Three) based on an overview of two-and-a-half years of production on three series. Through a case study approach, this Masters project explores how story is constructed into a television format. The thesis comprises two parts: the creative component (weighted 50%) is demonstrated through two programs of MPU (one program for evaluation) and the academic component through a written exegesis (50%). This case study aims to demonstrate how observational hybrid series such as MPU can be managed to quick turn-around schedules with precise skill sets that cut across a number of traditional genre styles. With the advent of radio and then television, storytelling found a home and a series of labels called genres to help place them in a schedule for listeners and viewers to choose. Over recent years, with the advent of digital technology and the rush to collect the masses of content required to feed the growing television slate, storytelling has often been replaced by story gathering. Today even in factual series where a clear story construct is important, third party ‘quick fix’ specialists are hired to shape raw content shot by a field team, who never put their own work together and may never come into the edit suite during a project. This thesis explores the art of storytelling in fast turn-around television. In particular it explores the layer cake approach used in the production process of MPU, that enables producers of fast turn-around television to shepherd their own stories from field through to post-production. While each new hybrid series will require its own particular sets of skills, the exploration of the genesis of MPU will demonstrate the building blocks required to successfully produce this type of factual series. This study is also intended as a ‘road map’ for producers who wish to develop similar series.

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Theatre history provides little information on theatre audiences and how the concept of an audience has changed over time. Through the investigation of theatre history texts, theatre theorists' manifestos, and interviews with workers in the field of theatre for young audiences, this thesis outlines the theatre audience from the first performance to the present and examines how the history of the concept of "child" and young audiences has developed in recent years. Opposing views exist on the subject of how a child is perceived as well as the purpose and role of a theatre audience. In this thesis, I investigate the classical, romantic, realist, modern, and current theatre movements and how scholars and theorists have perceived or written about their audiences in an effort to cultivate an understanding of what an audience is today and how the concept of theatre etiquette has or has not changed throughout history in order to relate these findings to experiences of audiences today. I began this thesis with a general knowledge of "audience," from a personal perspective as a performer and audience member. However, through my collected data, I find that audiences are valued in distinctive ways throughout various movements in theatre history. With this understanding, I wrote a short book to help young audience members to understand what the present conventions are as a theatre audience member.