Please use this identifier to cite or link to this item: http://buratest.brunel.ac.uk/handle/2438/11597
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dc.contributor.authorPeterson, GT-
dc.date.accessioned2015-11-16T12:10:19Z-
dc.date.available2015-11-16T12:10:19Z-
dc.date.issued2014-
dc.identifier.citationParticipations: Journal of Audience & Reception Studies, 11(1): (May 2014)en_US
dc.identifier.issn1749-8716-
dc.identifier.urihttp://www.participations.org/Volume%2011/Issue%201/contents.htm-
dc.identifier.urihttp://bura.brunel.ac.uk/handle/2438/11597-
dc.description.abstractHow can an invitation to participate be understood as an art and the audience the medium? Formulating a set of aesthetic theories to answer this question and many others about participation, Gareth White’s book is a welcome addition to a growing body of literature addressing the ‘social turn’ inflecting contemporary artistic practices, particularly in the performing arts. Responding to and building on works such as Claire Bishop’s Artificial Hells and Bruce McConachie’s Engaging Audiences, as well as complementing Josephine Machon’s recent Immersive Theatres, White’s book productively fills a particular gap.en_US
dc.language.isoenen_US
dc.publisherAberystwyth Universityen_US
dc.subjectReviewen_US
dc.subjectGareth Whiteen_US
dc.subjectGareth White’s booken_US
dc.subjectSocial turnen_US
dc.titleAudience participation in theatre: Aesthetics of the invitation by Gareth Whiteen_US
dc.typeArticleen_US
dc.relation.isPartOfParticipations: Journal of Audience & Reception Studies-
pubs.issue1-
pubs.publication-statusPublished-
pubs.publication-statusPublished-
pubs.volume11-
Appears in Collections:Dept of Arts and Humanities Research Papers

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