|dc.description.abstract||The term ’public discourses’ describes a range of texts or signifiers that inform the conditions of audience reception. Public discourses include myriad written, visual, spatial, auditory and sensory texts experienced by an audience at a particular theatrical event. Ric Knowles first introduced this term in 'Reading the Material Theatre'. Whereas Knowles was interested in how public discourses modified the conditions of reception, my broader research is to explore how these public discourses become texts in themselves.
This paper will discuss one public discourse, the theatre programme, as it related to a staging of Maxwell Anderson’s Anne of the Thousand Days at the Brisbane Powerhouse in June 2006. The significance of the programme was explored at symposiums held after the performances. Audiences generally view programmes before a performance and after a performance and its significance as a written text changes. The program became a sign vehicle that worked to expound and explicate the meaning of the play for the audience. This public discourse became a significant written text contributing to the textual whole of the theatrical event.||en|
|dc.description.sponsorship||The conference was sponsored by A.D.S.A., the Department of Performance Studies, the School of Letters, Arts and Media, and the Faculty of Arts of the University of Sydney.||en|
|dc.rights||Copyright Australasian Association for Drama, Theatre and Performance Studies||en|
|dc.subject||'Anne of the Thousand Days'||en|
|dc.title||The Theatre Programme: A Public Discourse at a Staging of Maxwell Anderson's 'Anne of the Thousand Days'||en|
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