Argues that an audience is real rather than abstract and is necessary to the art of the theater. Demonstrates that audiences are too diverse to be described by an abstraction; audiences affect performances; and interchange occurs between actors and audiences. (See CS 705 537.) (PD)

Refutes several of Campbell's arguments that the audience is abstract rather than real. (JMF)

Defends the notion of the abstract audience. Questions Gillespie's concept of audience adaptation and the relationship among play, actor, and audience. (JMF)

Argues that theater is aimed at and presented to an ideal or abstract audience. Discusses the implications of performing for an actual audience, adaptation to various audiences, and the concept of the audience as an evaluative device. (See CS 705 536.) (JMF)

Discusses problems arising from the treatment of oral interpretation as communication. Two aspects of particular interest are the notion that the communicative situation demands a particular style of performance, most often described as suggestion; and the view that the audience is the most important single element in the interpretative situation.…

Examines reasons why those who engage in performance and direct performances take up the burden. Considers performance an authentic, primary experience; a way of knowing; and also a way of knowing what is worth knowing. (PD)