Thesis (Ph. D.)--Victoria University (Melbourne, Vic.), 2008. / Includes bibliographical references.

This dissertation develops a theory for analyzing the role of audiences as aesthetic resources in contemporary site-specific performance and relational art. Collaborating with three Canadian companies as a participant-observer, interviewer, and in some cases, documenter, I develop case studies that track flexible stage-audience relationships in public spaces. By analyzing how companies Radix Theatre Society, Bluemouth, and Mammalian Diving Reflex put spectators to work in sites like IKEA showrooms, disused warehouses, and theatres, I advance a method that attends to the doubled practice of the spectator as worker and witness. This framework, which I term bifold spectatorship, articulates how audiences constitute theatrical worlds through direct physical engagement with the cultural criticism and formal experimentation that artists stage. Folded into the event, spectators literally compose the scene of the action, and enter into what I call critical proximity with the discourses that shape the performance. As participants interact with and directly query the artistic expressions that they patron, they answer a challenge to perform that is typically reserved for professionals. Such novel participation begins with a hail that interpellates audiences into the action as subjects and even sites of performance. Adapting the concept of the casting call, or what I coin site-casting, miscasting, and central casting, I show how spectators are aligned with the exigencies of the site; “mis-placed” or miscast by artists (provoking performance anxiety in participants); or cast to play a role they already perform in their everyday lives. In addition to these critical frameworks, I challenge the established narrative of “liberating the audience” by forwarding a multi-sited genealogy of site-specific performance that confronts the romance of freeing spectators from stage conventions. In examining the ethical problems that arise when audiences are made responsible for representation, The Stagehands of Subversive Spaces extends debates within site-specific performance to wider conversations in performance studies about ethics, subjectivity, and audience reception.

This dissertation develops a theory for analyzing the role of audiences as aesthetic resources in contemporary site-specific performance and relational art. Collaborating with three Canadian companies as a participant-observer, interviewer, and in some cases, documenter, I develop case studies that track flexible stage-audience relationships in public spaces. By analyzing how companies Radix Theatre Society, Bluemouth, and Mammalian Diving Reflex put spectators to work in sites like IKEA showrooms, disused warehouses, and theatres, I advance a method that attends to the doubled practice of the spectator as worker and witness. This framework, which I term bifold spectatorship, articulates how audiences constitute theatrical worlds through direct physical engagement with the cultural criticism and formal experimentation that artists stage. Folded into the event, spectators literally compose the scene of the action, and enter into what I call critical proximity with the discourses that shape the performance. As participants interact with and directly query the artistic expressions that they patron, they answer a challenge to perform that is typically reserved for professionals. Such novel participation begins with a hail that interpellates audiences into the action as subjects and even sites of performance. Adapting the concept of the casting call, or what I coin site-casting, miscasting, and central casting, I show how spectators are aligned with the exigencies of the site; “mis-placed” or miscast by artists (provoking performance anxiety in participants); or cast to play a role they already perform in their everyday lives. In addition to these critical frameworks, I challenge the established narrative of “liberating the audience” by forwarding a multi-sited genealogy of site-specific performance that confronts the romance of freeing spectators from stage conventions. In examining the ethical problems that arise when audiences are made responsible for representation, The Stagehands of Subversive Spaces extends debates within site-specific performance to wider conversations in performance studies about ethics, subjectivity, and audience reception.