Book contents
- The Cambridge Guide to Mixed Methods Research for Theatre and Performance Studies
- Reviews
- The Cambridge Guide to Mixed Methods Research for Theatre and Performance Studies
- Copyright page
- Contents
- Figures
- Tables
- Contributors
- Acknowledgements
- Introduction:
- Part I Planning
- Part II Doing
- Chapter 6 You’re Already a Digital Humanist:
- Chapter 7 Analysing Immersive Performance through Lived Bricolage
- Chapter 8 Talking Theatre in an Oral Culture:
- Chapter 9 Painful Fieldwork?
- Chapter 10 Fieldwork as Method in Theatre and Performance Studies
- Part III Interpreting
- Index
- References
Chapter 8 - Talking Theatre in an Oral Culture:
Audience Research in Ghana
from Part II - Doing
Published online by Cambridge University Press: 01 February 2024
Book contents
- The Cambridge Guide to Mixed Methods Research for Theatre and Performance Studies
- Reviews
- The Cambridge Guide to Mixed Methods Research for Theatre and Performance Studies
- Copyright page
- Contents
- Figures
- Tables
- Contributors
- Acknowledgements
- Introduction:
- Part I Planning
- Part II Doing
- Chapter 6 You’re Already a Digital Humanist:
- Chapter 7 Analysing Immersive Performance through Lived Bricolage
- Chapter 8 Talking Theatre in an Oral Culture:
- Chapter 9 Painful Fieldwork?
- Chapter 10 Fieldwork as Method in Theatre and Performance Studies
- Part III Interpreting
- Index
- References
Summary
This chapter reflects on Awo Mana Asiedu’s approaches to researching audiences in Ghana, a predominantly oral context. It takes as its starting point her motivations for doing this kind of research and then outlines her work to date in this area, particularly with the audiences of Roverman Productions, a major performance group in Accra. It foregrounds the importance of the perspectives of the audiences themselves and how they perceive the impact that performances audiences watch have upon them.
- Type
- Chapter
- Information
- Publisher: Cambridge University PressPrint publication year: 2024
References
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