This list of sources is ongoing and will be updated regularly. If you have suggestions you would like to add, please contact us.
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Amadasun, David Osa (2014) ‘Black people don’t go to galleries: The reproduction of taste and cultural value’, 21 October 2013 [Online].
Arts Council England (2009) ‘Arts Audiences Insight’ [Online].
Audiences Wales (2009a) ‘Identifying the Potential: The Development of Theatre Audiences in Wales. Part One’ [Online].
Audiences Wales (2009b) ‘Identifying the Potential: The Development of Theatre Audiences in Wales. Part Two’ [Online].
Barker, Martin (2003) ‘Crash, theatre audiences, and the idea of “liveness”’, Studies in Theatre & Performance 23:1, 21-39.
Barker, Martin (2012) Live to Your Local Cinema: The Remarkable Rise of Livecasting, London: Palgrave Macmillan.
Bennett, Susan (2007) Theatre Audiences (2nd Edition), London: Routledge
Benzecry, Claudio E. (2011) The Opera Fanatic: Ethnography of an Obsession, London: University of Chicago Press
Brown, Alan S. & Jennifer L. Novak (2007) ‘Assessing the Intrinsic Impacts of a Live Performance’, Wolf Brown, January 2007 [Online].
Burland, Karen & Stephanie Pitts (eds.) (2014) Coughing and Clapping: Investigating Audience Experience, Surrey: Ashgate Publishing Ltd.
Butsch, Richard (2002) The Making of American Audiences: From Stage to Television, Cambridge: Cambridge University Press.
Christensen, Julia F. & Beatriz Calvo-Merino (2013) ‘Dance as a Subject for Empirical Aesthetics’, Psychology of Aesthetics, Creativity and the Arts 7:1, 76.
Conner, Lynne (2013) Audience Engagement and the Role of Arts Talk in the Digital Era, New York: Palgrave Macmillan.
Crow, Brian (2007) ‘The Behzti affair revisited: British multiculturalism, audiences and strategy’, Studies in Theatre and Performance 27:3, 211-222.
Davis, Jim, and Victor Emeljanow (2005) Reflecting the Audience: London Theatregoing, 1840-1880, Iowa City: University of Iowa Press.
Freshwater, Helen (2009) Theatre and Audience, London: Palgrave Macmillan.
Freshwater, Helen (2011) ‘”You Say Something”: Audience Participation and The Author’, Contemporary Theatre Review 21:4, 405-409.
Freshwater, Helen (2012) ‘Consuming Authenticities: Billy Elliot the Musical and the Performing Child’, The Lion and the Unicorn 36:2, 154-173.
Gallagher, Kathleen, Barry Freeman & Anne Wessells (2010) ‘”It could have been so much better”: the aesthetic and social work of theatre’, Research in Drama Education: The Journal of Applied Theatre and Performance 15:1, 5-27.
Goode, Chris (2011) ‘The Audience is Listening’, Contemporary Theatre Review 21:4, 464-471.
Grove, Robin, Catherine Stevens & Shirley McKechnie (2005) Thinking in Four Dimensions: Creativity and cognition in contemporary dance, Melbourne: Melbourne University Press.
Harlow, Bob, Thomas Alfieri, Aaron Dalton & Anne Field (2011) ‘Building Deeper Relationships: How Steppenwolf Theatre Company is Turning Single-Ticket Buyers into Repeat Visitors’, Wallace Studies in Building Arts Audiences [Online].
Heddon, Deirdre, Helen Iball & Rachel Zerihan (2012) ‘Come Closer: Confessions of Intimate Spectators in One to One Performance’, Contemporary Theatre Review 22:1, 120-133.
Heim, Caroline (2016) Audience as Performer: The changing role of theatre audiences in the twenty-first century, Oxon: Taylor & Francis
Heim, Caroline (2012) ‘”Argue with us!”: audience co-creation through post- performance discussions’, New Theatre Quarterly (NTQ) 28, 189-197.
Jola, Corinne, Shantel Ehrenberg & Dee Reynolds (2011) ‘The experience of watching dance: Phenomenological–neuroscience duets’, Phenomenology and the Cognitive Sciences 11, 17–37.
Jola, Corinne, Frank E. Pollick, & M. H. Grosbras (2011) ‘Arousal decrease in Sleeping Beauty: Audiences’ neurophysiological correlates to watching a narrative dance performance of 2.5 hrs’, Dance Research 29, 2011: 378–403.
Klein, Jeanne (1993) ‘Applying Research to Artistic Practices: This is not a pipe dream’, Youth Theatre Journal, 7:3, 13-17.
Klein, Jeanne (2005) ‘From Children’s Perspectives: A Model of Aesthetic Processing in Theatre’, Journal of Aesthetic Education, 39:4, 40-57.
Kippax, Susan (1992) ‘Women as audience: the experience of unwaged women of the performing arts’, in Paddy Scannell (Ed.), Culture and Power: A Media, Culture & Society Reader, London: SAGE Publications, 239-258.
Lavery, Carl & David Williams (2011) ‘Practising Participation: A Conversation with Lone Twin’, Performance Research 16:4, 7-14.
Ostrower, Francie (2005) ‘Motivations Matter: Findings and Practical Implications of a National Survey of Cultural Participation’, The Urban Institute [Online].
O’Toole, John, Ricci-Jane Adams, Michael Anderson, Bruce Burton & Robyn Ewing (eds.) (2014) Young Audiences, Theatre and the Cultural Conversation, London: Springer.
Park-Fuller, Linda M. (2003) ‘Audiencing the Audience: Playback Theatre, Performative Writing, and Social Activism’, Text and Performance Quarterly 23: 3, 288-310.
Radbourne, Jennifer, Hilary Glow & Katya Johanson (eds.) (2013) The Audience Experience: A Critical Analysis of Audiences in the Performing Arts, Bristol: Intellect.
Reason, Matthew (2004) ‘Theatre Audiences and Perceptions of ‘Liveness’ in Performance’, Participations 1:2, 1-29.
Reason, Matthew (2006a) ‘Young Audience and Live Theatre, Part 1: Methods, participation and memory in audience research’, Studies in Theatre and Performance 26: 2, 129-145.
Reason, Matthew (2006b) ‘Young Audience and Live Theatre, Part 2: Perceptions of liveness in performance’, Studies in Theatre and Performance 26:3, 221-241.
Reason, Matthew (2008) ‘Thinking Theatre: Enhancing Children’s Theatrical Experiences Through Philosophical Enquiry’, Philosophy and Childhood 7, 115-145.
Reason, Matthew (2010a) ‘Asking the Audience: Audience research and the experience of theatre’, About Performance 10, 15-34.
Reason, Matthew (2010b) The Young Audience: Exploring and Enhancing Children’s Experiences of Theatre, Stoke: Trentham Books/IOE Press.
Reynolds, Dee & Matthew Reason (Eds.) (2012) Kinesthetic Empathy in Creative and Cultural Practices, Bristol: Intellect Books.
Sauter, Willmar (2000) The Theatrical Event: Dynamics of Performance and Perception, Iowa City: University of Iowa Press.
Schonmann, Shifra (2006) Theatre as a Medium for Children and Young People: Images and Observations, Dordrecht: Springer.
Stevens, Catherine J., Emery Schubert, Rua Haszard Morris, Matt Frear, Johnson Chen, Sue Healey, Colin Schoknecht & Stephen Hansen (2009) ‘Cognition and the temporal arts: Investigating audience response to dance using PDAs that record continuous data during live performance’, International Journal of Human-Computer Studies 67, 800–813.
Tulloch, John (2000) ‘Approaching Theatre Audiences: Active School Students and Commoditised High Culture’, Contemporary Theatre Review 10:2, 85-104.
Tulloch, John (2005) Shakespeare and Chekhov in Production and Reception: Theatrical Events and their Audiences, Iowa: University of Iowa Press.
Vincs, Kim, Emery Schubert & Catherine Stevens (2009) ‘Measuring Responses to Dance: Is there a “grammar” of dance?’
Walker, Chris, Stephanie Scott-Melnyk & Kay Sherwood (2002) ‘Reggae to Rachmaninoff: How and Why People Participate in Arts and Culture’, The Urban Institute [Online].
Walmsley, Ben (2011) ‘Why people go to the theatre: a qualitative study of audience motivation’, Journal of Customer Behaviour 10:4), 335-351.
Walmsley Ben, (2013) ‘”A big part of my life”: a qualitative study of the impact of theatre’, in Arts Marketing: An International Journal. 3 (1), 73-87.
Warde, Alan, Mark Tomlinson & Andrew McMeekin (2000) ‘Expanding Tastes?: Cultural Omnivorousness and Social Change in the UK’, CRIC Discussion Paper No. 37, July 2000 [Online].
Wolf, Stacy (2007) ‘Wicked Divas, Musical Theater, and Internet Girl Fans’, Camera Obscura 22 (2:65): 39-71.
Welcome to PARN
This website has been set up by audience researchers focusing on live performance, to provide a point of contact for scholars interested in audiences and spectatorship.
Please check back regularly for new CfPs, events and announcements. If there is anything you think we should feature please get in touch.
© 2015 Tom Sedgman