Full metadata record
DC Field | Value | Language |
---|---|---|
dc.contributor.author | Lotz, Jason P. | - |
dc.date.accessioned | 2025-08-20T23:51:29Z | - |
dc.date.available | 2025-08-20T23:51:29Z | - |
dc.date.issued | 2022-06 | - |
dc.identifier.citation | Lotz, J. P. (2022). Decentering the theater audience through reaction videos. ArtsPraxis, 9 (1), pp. 48-58. | en |
dc.identifier.issn | 1552-5236 | - |
dc.identifier.uri | http://hdl.handle.net/2451/75214 | - |
dc.description.abstract | In this essay, I question the pedagogical validity of the class field trip to the theater and suggest ways reaction videos might intervene to decenter the theater audience and the theater classroom. Building on Basil Bernstein’s work on educational codes as well as the strategies of a postmodern education as outlined by Stanley Aronowitz and Henry Giroux, I argue that the traditional theater experience galvanizes an elitist hierarchy antithetical to the purported goals of education. Tracing the popularity of reaction videos online, I then propose an assignment that fits with Jill Bourne’s idea of a “radical visible pedagogy” purposed to repopulate the theater audience and expand accessibility to Shakespeare’s work. | en |
dc.language.iso | en_US | en |
dc.rights | ArtsPraxis is published by the NYU Steinhardt Program in Educational Theatre; author(s) retain copyright of the work though they have given irrevocable right to reproduce, transmit, distribute, make available through an archive, sell, and otherwise use the Accepted Contribution as it is published in the Journal. | en |
dc.subject | reaction videos | en |
dc.subject | theatre criticism | en |
dc.title | Decentering the Theater Audience through Reaction Videos | en |
dc.type | Article | en |
Appears in Collections: | ArtsPraxis Volume 9, Issue 1 |
Files in This Item:
File | Description | Size | Format | |
---|---|---|---|---|
AP_2022_-_Lotz_-_Decentering_the_Theater_Audience_through_Reaction_Videos.pdf | 591.25 kB | Adobe PDF | View/Open |
Items in FDA are protected by copyright, with all rights reserved, unless otherwise indicated.