Audience

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An audience in Tel Aviv, Israel waiting to see the Batsheva Dance Company Batsheva theater crowd in Tel Aviv by David Shankbone.jpg
An audience in Tel Aviv, Israel waiting to see the Batsheva Dance Company
Audiences at the 2013 World Championships in Athletics in Moscow, Russia. 2013 World Championships in Athletics (August, 10) by Dmitry Rozhkov 137.jpg
Audiences at the 2013 World Championships in Athletics in Moscow, Russia.

An audience is a group of people who participate in a show or encounter a work of art, literature (in which they are called "readers"), theatre, music (in which they are called "listeners"), video games (in which they are called "players"), or academics in any medium. Audience members participate in different ways in different kinds of art; some events invite overt audience participation and others allowing only modest clapping and criticism and reception.

Contents

Media audience studies have become a recognized part of the curriculum. Audience theory offers scholarly insight into audiences in general. These insights shape our knowledge of just how audiences affect and are affected by different forms of art. The biggest art form is the mass media. Films, video games, radio shows, software (and hardware), and other formats are affected by the audience and its reviews and recommendations.

In the age of easy internet participation and citizen journalism, professional creators share space, and sometimes attention with the public. American journalist Jeff Jarvis said, "Give the people control of media, they will use it. The corollary: Don't give the people control of media, and you will lose. Whenever citizens can exercise control, they will." [1] Tom Curley, President of the Associated Press, similarly said, "The users are deciding what the point of their engagement will be — what application, what device, what time, what place." [1]

Types

Particular (real)

In rhetoric, some audiences depend on circumstance and situation and are characterized by the individuals that make up the audience. Sometimes these audiences are subject to persuasion and engage with the ideas of the speaker. Ranging in size and composition, this audience may come together and form a "composite" of multiple groups. [2]

Immediate

An immediate audience is a type of audience that is composed of individuals who are face-to-face subjects with a speaker and a speaker's rhetorical text or speech. [3] This audience directly listens to, engages with, and consumes the rhetorical text in an unmediated fashion. In measuring immediate audience reception and feedback, (audience measurement), one can depend on personal interviews, applause, and verbal comments made during and after a rhetorical speech. [2]

Mediated

In contrast to immediate audiences, mediated audiences are composed of individuals who consume rhetorical texts in a manner that is different from the time or place in which a speaker presents text. Audiences who consume texts or speeches through television, radio and internet are considered mediated audiences because those mediums separate the rhetor and the audience. [4] Such audiences are physically away from the audience and the message is controlled. [3] Understanding the size and composition of mediated audiences can be difficult because mediums such as television, radio, and Internet can displace the audience from the time and circumstance of a rhetorical text or speech. [2] In measuring mediated audience reception and feedback (a practice called audience measurement), one can depend on opinion polls and ratings, as well as comments and forums that may be featured on a website. This applies to may fields such as movies, songs and much more. There are companies that specialize in audience measurement. [5]

Theoretical (imagined)

Theoretical audiences are imagined for the purpose of helping a speaker compose, practice, or a critic to understand, a rhetorical text or speech. [6]

Self (self-deliberation)

When a rhetor deeply considers, questions, and deliberates over the content of the ideas they are conveying, it can be said that these individuals are addressing the audience of self, or self-deliberating. Scholars Chaïm Perelman and Lucie Olbrechts-Tyteca , in their book The New Rhetoric: A Treatise on Argumentation , [7] argue that the rhetor "is in a better position than anyone else to test the value of his own arguments." The audience of self, while not serving as the ends to all rhetorical purpose or circumstance, nevertheless acts as a type of audience that not only operates as a function of self-help, but as instrument used to discover the available means of persuasion. [8]

Universal

The universal audience is an imagined audience that serves as an ethical and argumentative test for the rhetor. This also requires the speaker to imagine a composite audience that contains individuals from diverse backgrounds and to discern whether or not the content of the rhetorical text or speech would appeal to individuals within that audience. Scholars Perelman and Olbrechts-Tyteca ascertain that the content addressed to a universal audience "must convince the reader that the reasons adduced are of a compelling character, that they are self-evident, and possess an absolute and timeless validity". [7] The concept of the universal audience has received criticism for being idealistic because it can be considered as an impediment in achieving persuasive effect with particular audiences. Yet, it still may be useful as an ethical guide for a speaker and a critical tool for a reader or audience. [8]

Ideal

An ideal audience is a rhetor's imagined, intended audience. In creating a rhetorical text, a rhetor imagines is the target audience, a group of individuals that will be addressed, persuaded, or affected by the speech or rhetorical text. [9] This type of audience is not necessarily imagined as the most receptive audience, but as the future particular audience that the rhetor will engage with. Imagining such an audience allows a rhetor to formulate appeals that will grant success in engaging with the future particular audience. In considering an ideal audience, a rhetor can imagine future conditions of mediation, size, demographics, and shared beliefs among the audience to be persuaded. [10]

Implied

An implied audience is an imaginary audience determined by an auditor or reader as the text's constructed audience. The implied audience is not the actual audience, but the one that can be inferred by reading or analyzing the text. Communications scholar Edwin Black, in his essay, The Second Persona, [11] presents the theoretical concept of the implied audience using the idea of two personae. The first persona is the implied rhetoric (the idea of the speaker formed by the audience) and the second persona is the implied audience (the idea of the audience formed by and utilized for persuasion in the speech situation). A critic could also determine what the text wants that audience to become or do after the rhetorical situation. [12]

On the web

Through the Internet, every person is given the opportunity to participate in different ways. The Internet gives people a platform to write and reach the people who are interested in what they are writing about. When writers write online, they are able to form communities with the people they share common interests with. The audiences that people are trying to reach can be general or specific, all depending on what the writer is discussing in their online posts. [13] Audiences have to go and check into what the writers are writing to stay on top of the latest information. Writers have to find their niche and try hard to work their way into an already formed community. The audience the writer is reaching is able to respond to the writers posts and can give feedback. The Internet allows these connections to be formed and fostered. In the Here Comes Everybody book by Clay Shirky, there are various examples of how audience is not only receiving content but actually creating it. Internet creates a chance of being part of an audience and a creator at the same time. [14]

Audience participation

Dancing with Iggy - audience participation at Sziget Festival Iggy and the Stooges - Sziget Fesztival, 2006.08.15 (27).jpg
Dancing with Iggy - audience participation at Sziget Festival
An audience at the Brooklyn Book Festival in New York City. Brooklyn Book Festival crowd by David Shankbone.jpg
An audience at the Brooklyn Book Festival in New York City.

Audience participation is commonly found in performances which break the fourth wall. Examples include the traditional British pantomimes, stand-up comedy, and creative stage shows such as Blue Man Group.

Audience participation can be uncomfortable for certain people, [15] but is growing and evolving as a new tool of brand activation and brand engagement. In a bid to create and reinforce a special bond between brands and their consumers, companies are increasingly looking towards events that involve active audience participation. Often, organizations provide branded objects to event attendees that will involve the audience in the show as well as act as souvenirs of the event, creating a lasting link with the brand. [16] For example, during Super Bowl XLVIII, the audience was incorporated in the Super Bowl XLVIII Halftime Show as part of the lighting effects. Pepsi involved the spectators by giving them "video ski hats" that produced visual effects across the crowd. [17] By appealing more directly to people and emotions, brands can obtain feedback from their consumers. Companies that provide or seek such experiences refer to the term "crowd activation". For example, Tangible Interaction named one of its branches Crowd Activation [18] and PixMob refers to itself as a crowd activation company on its website. [19]

One of the most well-known examples of popular audience participation accompanies the motion picture and music The Rocky Horror Picture Show and its earlier stage incarnation The Rocky Horror Show . The audience participation elements are often seen as the most important part of the picture, to the extent that the audio options on the DVD version include the option.

Some of this audience at the Jay Pritzker Pavilion provided their own seating to hear Beethoven's 9th Symphony at the Grant Park Music Festival 20090814 Pritzker Pavilion on Beethoven's 9th Day crop.JPG
Some of this audience at the Jay Pritzker Pavilion provided their own seating to hear Beethoven's 9th Symphony at the Grant Park Music Festival

Examples

Audience at a Frontier Fiesta show, 1950s Audience Frontier Fiesta.jpg
Audience at a Frontier Fiesta show, 1950s
Audience at a show in Hong Kong. HK Ocean Park Audience.JPG
Audience at a show in Hong Kong.

In the audience participation for the Rocky Horror Picture Show , the audience will make "call backs", and yell at the screen at certain parts of the movie. Also, a number of props are thrown and used by the audience during certain parts of the film.

In British pantomime performances, the audience is a crucial aspect of the show and is expected to perform certain tasks such as:

The Complete Works of William Shakespeare (Abridged) divides the audience into groups assigned to call out the concerns of three components of a character's psyche.

In The Mystery of Edwin Drood , a Broadway theatre musical based on Charles Dickens's last, unfinished work, the audience must vote for whom they think the murderer is, as well as the real identity of the detective and the couple who end up together.

The 1984 Summer Olympics included card stunts at the Olympic Stadium.

Tony and Tina's Wedding engages the entire audience at once, staging a narrative set during a wedding in which the audience performs the role of "guests".

The British panel game QI often allows the audience to try to answer questions. Currently, the audience have won one show, and have come last in another.

Magic shows often rely on some audience participation. Psychological illusionist Derren Brown relies heavily on audience participation in his live shows.

During performances of the "Radetzky March", it is traditional for the audience to clap along with the beat of the second (louder) repetitions of the chorus. This is particularly notable at the Neujahrskonzert.

Bloggers often allow their readers moderated or unmoderated comments sections.

Some musical groups often heavily incorporate audience participation into their live shows. The superhero-themed comedy rock band The Aquabats typically do so within their theatrical stage shows through such antics as "pool floatie races", where members of the band race across the venue on inflatable rafts via crowd surfing, or providing the audience with projectiles (such as plastic balls or beach balls) to throw at costumed "bad guys" who come out on stage. Koo Koo Kanga Roo, a comedy dance-pop duo, write their music solely for audience participation, utilizing call and response style sing-along songs which are usually accompanied by a simple dance move that the band encourage the audience to follow along with.

Faux participation

The television series Mystery Science Theater 3000 featured a man and his robots who were held as imprisoned audience members and tortured by being forced to view "bad" movies; to retain their sanity, they talked throughout and heckled each one.

In a similar vein, the online site Television Without Pity has a stable of reviewers and recappers who speak the lingo of audience members rather than of scholars, and who sometimes act as though they, too, are being tortured. [20]

Related Research Articles

Rhetoric Art of discourse

Rhetoric is the art of persuasion, which along with grammar and logic, is one of the three ancient arts of discourse. Rhetoric aims to study the techniques writers or speakers utilize to inform, persuade, or motivate particular audiences in specific situations. Aristotle defines rhetoric as "the faculty of observing in any given case the available means of persuasion" and since mastery of the art was necessary for victory in a case at law, for passage of proposals in the assembly, or for fame as a speaker in civic ceremonies; he calls it "a combination of the science of logic and of the ethical branch of politics". Rhetoric typically provides heuristics for understanding, discovering, and developing arguments for particular situations, such as Aristotle's three persuasive audience appeals: logos, pathos, and ethos. The five canons of rhetoric or phases of developing a persuasive speech were first codified in classical Rome: invention, arrangement, style, memory, and delivery.

Kairos Right or opportune moment

Kairos is an Ancient Greek word meaning the right, critical, or opportune moment. The ancient Greeks had two words for time: chronos (χρόνος) and kairos. The former refers to chronological or sequential time, while the latter signifies a proper or opportune time for action. While chronos is quantitative, kairos has a qualitative, permanent nature. Kairos also means weather in Modern Greek. The plural, καιροί means the times. Kairos is a term, idea, and practice that has been applied in several fields including classical rhetoric, modern rhetoric, digital media, Christian theology, and science.

Rhetorical criticism analyzes the symbolic artifacts of discourse—the words, phrases, images, gestures, performances, texts, films, etc. that people use to communicate. Rhetorical analysis shows how the artifacts work, how well they work, and how the artifacts, as discourse, inform and instruct, entertain and arouse, and convince and persuade the audience; as such, discourse includes the possibility of morally improving the reader, the viewer, and the listener. Rhetorical criticism studies and analyzes the purpose of the words, sights, and sounds that are the symbolic artifacts used for communications among people.

Procatalepsis, also called prolepsis or prebuttal, is a figure of speech in which the speaker raises an objection to their own argument and then immediately answers it. By doing so, they hope to strengthen their argument by dealing with possible counter-arguments before their audience can raise them.

Ethos Greek word meaning "character"

Ethos is a Greek word meaning "character" that is used to describe the guiding beliefs or ideals that characterize a community, nation, or ideology. The Greeks also used this word to refer to the power of music to influence emotions, behaviors, and even morals. Early Greek stories of Orpheus exhibit this idea in a compelling way. The word's use in rhetoric is closely based on the Greek terminology used by Aristotle in his concept of the three artistic proofs or modes of persuasion. It gives credit to the speaker, or the speaker is taking credit.

Pathos appeals to the emotions of the audience and elicits feelings that already reside in them. Pathos is a communication technique used most often in rhetoric, as well as in literature, film and other narrative art.

Genre studies Branch of general critical theory

Genre studies is an academic subject which studies genre theory as a branch of general critical theory in several different fields, including art, literature, linguistics, rhetoric and composition studies.

Inventio, one of the five canons of rhetoric, is the method used for the discovery of arguments in Western rhetoric and comes from the Latin word, meaning "invention" or "discovery". Inventio is the central, indispensable canon of rhetoric, and traditionally means a systematic search for arguments.

Memoria was the term for aspects involving memory in Western classical rhetoric. The word is Latin, and can be translated as "memory".

A discourse community is a group of people who share a set of discourses, understood as basic values and assumptions, and ways of communicating about those goals. Linguist John Swales defined discourse communities as "groups that have goals or purposes, and use communication to achieve these goals."

Narrative paradigm is a communication theory conceptualized by 20th-century communication scholar Walter Fisher. The paradigm claims that all meaningful communication occurs via storytelling or reporting of events. Humans participate as storytellers and observers of narratives. This theory further claims that stories are more persuasive than arguments. Essentially the narrative paradigm helps us to explain how humans are able to understand complex information through narrative.

Chaïm Perelman Polish-born philosopher

Chaïm Perelman was a Polish-born philosopher of law, who studied, taught, and lived most of his life in Brussels. He was among the most important argumentation theorists of the twentieth century. His chief work is the Traité de l'argumentation – la nouvelle rhétorique (1958), with Lucie Olbrechts-Tyteca, translated into English as The New Rhetoric: A Treatise on Argumentation, by John Wilkinson and Purcell Weaver (1969).

Owing to its origin in ancient Greece and Rome, English rhetorical theory frequently employs Greek and Latin words as terms of art. This page explains commonly used rhetorical terms in alphabetical order. The brief definitions here are intended to serve as a quick reference rather than an in-depth discussion. For more information, click the terms.

The epideictic oratory, also called ceremonial oratory, or praise-and-blame rhetoric, is one of the three branches, or "species" (eidē), of rhetoric as outlined in Aristotle's Rhetoric, to be used to praise or blame during ceremonies.

The third persona is the implied audience which is not present in, or is excluded from, rhetorical communication. This conception of the Third Persona relates to the First Persona, the "I" in discourse, and the second persona, the "you" in discourse. Third Persona is "the 'it' that is not present, that is objectified in a way that 'you' and 'I' are not." Third Persona, as a theory, seeks to define and critique the rules of rhetoric, to further consider how we talk about what we talk about—the discourse of discourse—and who is affected by that discourse. The concept of the third persona encourages examination of who is implicitly excluded from a discourse, why they are excluded, and what this can tell us about how that discourse participates in larger networks of social or political power.

Rhetoric is the art of using speech to convince or persuade. "Stance," is an individual's attitudes in emotional and intellectual matters, or a philosophical position in a logical argument. Rhetorical stance would then be the position of a speaker or writer in relation to audience, topic, and situational context. "Rhetorical Stance" involves taking a position, and effectively developing an argument in favor of that position, in order to persuade an audience. This article describes the importance of the Author/Speaker, Audience, Context, and Purpose to one another in an attempt to convince or persuade said audience, using the tools of the rhetorical triangle and tetrahedron to help simplify the abstract idea of rhetorical stance.

The rhetorical situation is the circumstance of an event that consists of an issue, an audience, and a set of constraints. A rhetorical situation arises from a given context or exigence. An article by Lloyd Bitzer introduced the model of rhetorical situation in 1968, which was later challenged and modified by Richard E. Vatz (1973) and Scott Consigny (1974). More recent scholarship has further redefined the model to include more expansive views of rhetorical operations and ecologies.

New rhetorics is an interdisciplinary field approaching for the broadening of classical rhetorical canon.

Ethopoeia (ee-tho-po-EE-ya) is the ancient Greek term for the creation of a character. Ethopoeia was a technique used by early students of rhetoric in order to create a successful speech or oration by impersonating a subject or client. Ethopoeia contains elements of both ethos and pathos and this is noticeable in the three divisions of ethopoeia. These three divisions are pathetical, ethical and mixed. It is essential to impersonation, one of the fourteen progymnasmata exercises created for the early schools of rhetoric.

In argumentation theory, an argumentation scheme or argument scheme is a template that represents a common type of argument used in ordinary conversation. Many different argumentation schemes have been identified. Each one has a name and presents a type of connection between premises and a conclusion in an argument, and this connection is expressed as a rule of inference. Argumentation schemes can include inferences based on different types of reasoning—deductive, inductive, abductive, probabilistic, etc.

References

  1. 1 2 Rosen, Jay (June 27, 2006). "The People Formerly Known as the Audience". Press Think. Archived from the original on 2016-08-30. Retrieved August 5, 2012.
  2. 1 2 3 "The Rhetorical Situation" (PDF). University of Arkansas Sam M. Walton College of Business.
  3. 1 2 Hinck, Edward A. (2018). Televised Presidential Debates in a Changing Media Environment. ABC-CLIO. ISBN   9781440850448.
  4. Nordquist, Richard. "How to Speak and Write With an Audience in Mind". ThoughtCo. Retrieved 2019-09-30.
  5. James, Webster; Phalen, Patricia; Lichty, Lawrence (2014). Ratings Analysis: Audience Measurement and Analytics (Fourth ed.). New York: Routledge. ISBN   978-0-415-52652-4.
  6. Litt, Eden; Hargittai, Eszter (2016-01-01). "The Imagined Audience on Social Network Sites". Social Media + Society. 2 (1): 2056305116633482. doi: 10.1177/2056305116633482 . ISSN   2056-3051.
  7. 1 2 Perelman, Chaim; L. Olbrechts-Tyteca (1969). The New Rhetoric: A Treatise on Argumentation . Notre Dame, Indiana: University of Notre Dame Press.
  8. 1 2 Litt, Eden (2012-07-01). "Knock, Knock. Who's There? The Imagined Audience". Journal of Broadcasting & Electronic Media . 56 (3): 330–345. doi: 10.1080/08838151.2012.705195 . ISSN   0883-8151.
  9. Strohm, Paul (1983). "Chaucer's Audience(s): Fictional, Implied, Intended, Actual". The Chaucer Review. 18 (2): 137–145. ISSN   0009-2002. JSTOR   25093871.
  10. Sargent-Baur, Barbara N. (1992-01-01). "Communication and implied audience(s) in Villon's Testament". Neophilologus . 76 (1): 35–40. doi:10.1007/BF00316754. ISSN   1572-8668. S2CID   162256798.
  11. Black, Edwin (1998). "The Second Persona". In John Lucaites; Celeste Michelle Condit; Sally Caudill (eds.). Contemporary Rhetorical Theory: A Reader. New York: Guilford Press. pp. 331–340. ISBN   1-572-30401-4.
  12. Bell, Joanna H.; Bromnick, Rachel D. (2003). "The social reality of the imaginary audience: a grounded theory approach". Adolescence . 38 (150): 205–219. ISSN   0001-8449. PMID   14560876.
  13. Livingstone, Sonia (May 1998). "Audience research at the crossroads" (PDF). European Journal of Cultural Studies. 1 (2): 193–217. doi:10.1177/136754949800100203. ISSN   1367-5494. S2CID   7338276.
  14. Shirky, Clay (2008). Here Comes Everybody . Penguin Group. ISBN   978-1-59420-153-0.
  15. Ro, Christine. "Why Audience Participation Is So Terrifying". The Cut. Retrieved 2018-08-18.
  16. Cornwell, T. Bettina; Weeks, Clinton S.; Roy, Donald P. (2005). "Sponsorship-Linked Marketing: Opening the Black Box". Journal of Advertising. 34 (2): 21–42. doi:10.1080/00913367.2005.10639194. JSTOR   4189295. S2CID   15520591.
  17. Ellen Lampert-Greaux (February 3, 2014) PixMob Brings LED Technology To The Super Bowl XLVIII Halftime Show Live Design Online
  18. "about". about | Tangible Interaction.
  19. "PixMob - LED wristbands for enhanced crowd experiences". www.pixmob.com.
  20. "'Buffy the Vampire Slayer': We fall to pieces". Television Without Pity. May 6, 2002. Archived from the original on August 2, 2012. Retrieved August 6, 2012. Everybody hurts...sometimes. The only question remaining is: who's hurting the most? Is it Anya, Xander, Buffy, and Spike for having to live this crap, or [recapper] Ace for having to watch it?

Further reading