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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

By
Awo Mana Asiedu
Edited by
Tracy C. Davis  and
Paul Rae
Tracy C. Davis
Affiliation:
Northwestern University, Illinois
Paul Rae
Affiliation:
University of Melbourne
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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.

Keywords

audience researchoral contextsRoverman Productionsmixed methods
Type
Chapter
Information
The Cambridge Guide to Mixed Methods Research for Theatre and Performance Studies , pp. 165 - 175
Publisher: Cambridge University Press
Print publication year: 2024

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References

Asiedu, A. M. (2014). ‘Constructing Social Realities on Stage: Ebo Whyte at the Ghana National Theatre’. In Budde, A., ed., Fiebach: Theater. Wissen. Machen. Berlin: Verlag Theater der Zeit, pp. 67–72.Google Scholar
Asiedu, A. M. (2016). ‘“The Money Was Real Money”: Talking with Audiences about Corruption, Domestic Violence and Aesthetic Values during the Roverman Festival of Plays at the Ghana National Theatre’. Theatre Research International, 41(2), 151–67.CrossRefGoogle Scholar
Asiedu, A. M. (2022). ‘Audience Engagement and the Production of Efficacious Theatre: A Case Study from Ghana’. In Reason, M., Conner, L., Johanson, K., & Walmsley, B., eds., Routledge Companion to Audiences and the Performing Arts. London: Routledge, pp. 217–28.Google Scholar
Asiedu, A. M., Dorgbadzi, S., & Ekumah, E. (2011). ‘Language and Body in Performance: Working across Languages in the Ghanaian Production I Told You So’. Contemporary Theatre Review, 21(1), 50–9.CrossRefGoogle Scholar
Bennett, S. (1997). Theatre Audiences: A Theory of Production and Reception. London: Routledge.Google Scholar
Freshwater, H. (2009). Theatre & Audience. Basingstoke: Palgrave Macmillan.Google Scholar
Johanson, K. (2013). ‘Listening to the Audience: Methods for a New Era of Audience Research’. In Radbourne, J., Glow, H., & Johanson, K., eds., Audience Experience. New York: Intellect, pp. 159–71.Google Scholar
Kennedy, D. (2009). The Spectator and the Spectacle: Audiences in Modernity and Postmodernity. London: Cambridge University Press.Google Scholar
Sauter, W. (2000). ‘Theatre Talks: How to Find Out What the Spectator Thinks’. In Sauter, W., The Theatrical Event: Dynamics of Performance and Perception. Iowa City: University of Iowa Press, pp. 174–86.Google Scholar
Sedgman, K. (2018). ‘Audience Experience in an Anti-Expert Age: A Survey of Theatre Audience Research’. Theatre Research International, 42(3), 307–22.Google Scholar

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