Big Profit Patterns Using Candlestick by Stephen W Bigalow

By Stephen W Bigalow

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For a more detailed discussion of this document, its implications concerning the cultural status of the performing arts, and questions it raises for performance studies, see Auslander (2005). 23 L I V E P E R F ORM ANC E I N A M E D I ATI Z E D CULTURE a wrinkle. 3 productions in 2002. :28). So, even though the percentage of adults who attended live theatre at least once in 2002 is higher than the percentage that viewed theatre in mediatized forms, the theatre is being consumed in mediatized forms two to three times more often than it is attended live.

Theatre audiences are not only seeing live performances that resemble mediatized ones as closely as possible, but are apparently modeling their responses to the live event on those expected of them by television. Ethan Mordden, quoted in an article analyzing the ubiquity of standing ovations on Broadway, offers the opinion that “audience reactions at live performances are so programmed as to seem canned, and . . theatre audiences, emulating those in television studios, appear to applaud on cue” (Peter Marks, “Standing room only (and that’s not good),” New York Times, December 8, 1995:H5).

55). One way of objecting to Lohr’s characterization of television editing would be to say that televisual discourse fails to replicate the perceptual discourse of the spectator’s eye because whereas in the theatre spectators direct their own vision, the television camera does not permit them to choose their own perspectives. In her article explaining why stage directors might make good television directors, however, Hunter implicitly responds to such an objection by suggesting that the spectator’s gaze is always directed in the theatre by means of focal points in the staging that are equivalent to camera views.

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