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Reclaiming the Stage: Amateur Theater-Studio Audiences in the Late Soviet Era

1998; Cambridge University Press; Volume: 57; Issue: 2 Linguagem: Inglês

10.2307/2501856

2325-7784

Susan Costanzo,

Cambodian History and Society

All performance involves some kind of communication between performer and spectator. After the socialist realist model was established in the mid-1980s, Soviet professional theaters typically relied on conventional input from patrons: attendance, emotional reactions during performances, and applause. Known for its exceptional interaction with audiences, the Taganka Theater decorated its lobby to correspond to a production and even asked spectators to cast ballots indicating whether they enjoyed the performance of Ten Days that Shook the World . But for professionals, such efforts to bridge the gulf between the stage and the house were unusual.