For sixty years, Queen Elizabeth II has met with each of her twelve Prime Ministers in a private weekly audience. The discussions are utterly secret, even to the royal and ministerial spouses. Peter Morgan imagines these meetings over the decades of the Queen’s remarkable reign, through Prime Ministers from Winston Churchill and Margaret Thatcher to the 2015 incumbent David Cameron. THE AUDIENCE is a glimpse into the woman behind the crown, and the moments that have shaped the modern monarchy.
Key writings exploring questions of reception, interpretation and interactivity. The fan audience, the active audience, gender and audience, nation and ethnicity, internet audiences.
President Ronald Reagan taught James Rosebush to be an impactful speaker. Now he's going to teach you. Public speaking isn't easy. Just ask anyone who's ever blown a sales pitch, failed a class, or fumbled their way through a presentation because they froze up or couldn't find the right words. No wonder more than 75 percent of people in the United States suffer from Glossophobia, the fear of speaking in front of crowds. Luckily, public speaking isn't some innate ability. It's a skill. And given the right amount of time, energy, and perseverance, anyone can learn how it's done. In Winning Your Audience, James Rosebush draws on several decades of experience working with presidents, politicians, and business leaders to write his own manual for delivering a message with confidence. He looks back on the lessons he learned travelling the world with President Ronald Reagan, whom he served under for five years in the White House, and lays out the keys to "the Reagan speech template": Question, Inform, Inspire, Ask. Rosebush also studies some of the great political orators of our time. Vital lessons from the likes of Winston Churchill, Abraham Lincoln, Frederick Douglass, and President Donald Trump are distilled down to a few simple rules. Among them are:· Be authentic· Know yourself· Practice and rehearse...and then do it again · Don't care what your mother thinks of you No matter what kind of speeches, toasts, or presentations you have to give, this book can help. Use it like a textbook. Write in the margins. Tear out pages. Winning Your Audience can make even the most timid speakers among us into a genuine leaders. Read it now and learn how to win your audience.
A masterful new monograph from one of the most revered and highly collectible contemporary art photographers in the world Roger Ballen is one of the most original image makers of the twenty-first century. Asylum of the Birds showcases his iconic photographs, which were all taken entirely within the confines of a house in a Johannesburg suburb, the location of which remains a tightly guarded secret. The inhabitants of the house, both people and animals, and most notably the ever-present birds, are the cast who perform within a sculptural and decorated theatrical interior that the author creates and orchestrates. The resulting images are compelling and dynamic, existing somewhere between still life and portrait. They are richly layered with graffiti, drawings, animals, and found objects. In a world where photographers seek to avoid definition, Roger Ballen is a true original who not only defies genres, but has defined his own artistic space as well.
Audiences are not what they used to be. Munching crisps or snapping selfies, chatting loudly or charging phones onstage – bad behaviour in theatre is apparently on the rise. And lately some spectators have begun to fight back... The Reasonable Audience explores the recent trend of ‘theatre etiquette’: an audience-led crusade to bring ‘manners and respect’ back to the auditorium. This comes at a time when, around the world, arts institutions are working to balance the traditional pleasures of receptive quietness with the need to foster more inclusive experiences. Through investigating the rhetorics of morality underpinning both sides of the argument, this book examines how models of 'good' and 'bad' spectatorship are constructed and legitimised. Is theatre etiquette actually snobbish? Are audiences really more selfish? Who gets to decide what counts as ‘reasonable’ within public space?Using theatre etiquette to explore wider issues of social participation, cultural exclusion, and the politics of identity, Kirsty Sedgman asks what it means to police the behaviour of others.
The Audience in Everyday Life argues that a media audience cannot be studied in front of the television alone--their interaction with media does not simply end when the set is turned off. Instead, we must study the daily lives of audiences to find the undercurrents of media influence in everyday life. Bird provides a host of useful tools and methods for scholars and students interested in the ways media is consumed in everyday life.
The performing arts around the world need to develop their audiences, and arts marketing in the current mode has a limited ability to help. This book provides guidance about understanding and researching your audience. The book provides international best-practice case studies of projects that employ innovative methods to build knowledge of their audience. The collection presents internationally renowned scholars' current research on contemporary practices, framed by newly emerging theory. 'The Audience Experience' identifies a momentous change in what it means to be part of an audience for a live arts performance. Together, new communication technologies and new kinds of audiences have transformed the expectations of performance, and 'The Audience Experience' explores key trends in the contemporary presentation of performing arts.
This innovative work begins to fill a large gap in theatre studies: the lack of any comprehensive study of nineteenth-century British theatre audiences. In an attempt to bring some order to the enormous amount of available primary material, Jim Davis and Victor Emeljanow focus on London from 1840, immediately prior to the deregulation of that city's theatres, to 1880, when the Metropolitan Board of Works assumed responsibility for their licensing. In a further attempt to manage their material, they concentrate chapter by chapter on seven representative theatres from four areas: the Surrey Theatre and the Royal Victoria to the south, the Whitechapel Pavilion and the Britannia Theatre to the east, Sadler's Wells and the Queen's (later the Prince of Wales's) to the north, and Drury Lane to the west. Davis and Emeljanow thoroughly examine the composition of these theatres' audiences, their behavior, and their attendance patterns by looking at topography, social demography, police reports, playbills, autobiographies and diaries, newspaper accounts, economic and social factors as seen in census returns, maps and transportation data, and the managerial policies of each theatre.
This book offers a major reconceptualization of the term audience, one which involves a landscape, including the landscape of a given audiencesituated and territorializing features of any way of seeing and defining the world. It acknowledges, in the face of conventional discourse analysis, the contextual features of discourse, to produce complex and textured understanding of the concept of audience. The book will speak to students of rhetoric, mass communication, cultural studies, anthropology, and sociology alike. This book offers a major reconceptualization of the term audience, including the landscape of a given audiencethe situated and territorializing features of any way of seeing and defining the world. Given de Certeaus hypothesis that listening, watching, and reading all occur in places and result in produce transformed paths or spaces, the contributors to this landmark volume have provided innovative essays analyzing the transformations that take place in the geography between sender and receiver. The book acknowledges, in the face of conventional discourse analysis, the contextual features of discourse, to produce a complex and textured understanding of the concept of audience. The Audience and Its Landscape, presents the work of a vital cross-section of international scholars including Swedens Karl Erik Rosengren, the UKs Jay G. Blumler and Roger Silverstone, Australias Tony Bennett, Israels Elihu Katz, Canadas Martin Allor, and the United Statess Janice Radway, Byron Reeves, and John Fisk, to name a few. This book is truly groundbreaking in its depth and scope, and will speak to students of rhetoric, mass communication, cultural studies, anthropology, and sociology alike.
