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<font face="Helvetica" size="1"><span style="font-size: 12px;">The Centre for Drama, Theatre and Performance Studies and the Centre for Spectatorship and Audience Research Present:<br>
<div align="center" style="text-align: center;"><font size="4"><span style="font-size: 14pt;">Dr. Helen Freshwater</span></font></div>
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<div align="center" style="text-align: center;"><font size="4"><span style="font-size: 14pt;">Keynote Address</span></font></div>
<div align="center" style="text-align: center;"><font size="4"><span style="font-size: 14pt;">November 16, 2016 @ 5:30pm</span></font></div>
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<div align="center" style="text-align: center;"><font size="4"><span style="font-size: 14pt;">Robert Gill Theatre, 214 College Street (Toronto), 3rd Floor</span></font></div>
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Apologies for cross-posting. Last minute reminder that the incredible Dr. Helen Freshwater is giving a public lecture tonight at The Robert Gill Theatre in Toronto tonight, followed by a reception. Members of Candrama are most welcome!</p>
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<span style="font-variant-ligatures: normal; font-variant-position: normal; font-variant-numeric: normal; font-variant-alternates: normal; font-variant-east-asian: normal; line-height: 24px;">Abstract:</span></p>
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<strong><span style="font-size: 18px;">Twenty-first Century Theatre and<br>
‘the people formerly known as the audience’</span></strong></div>
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This paper will return to <em>Theatre & Audience</em> (2009) to reflect on the performances and publications which inspired its development. It will also consider what has changed for theatre audiences and in theatre studies since its publication. In 2009 I
asked why theatre scholars seem disinclined to ask audiences what they make of the theatre they view, and whether we really know very much at all about what theatre does for – and to – those who witness, watch, and participate in it. This paper will reflect
on why this question now seems dated as it focuses on audience responses to <em>Billy Elliot the Musical</em> (2005), <em>War Horse </em>(2007) and <em>Matilda the Musical</em> (2010). Drawing the recent work of Camilla Vasquez (2014), Caroline Heim (2015)
and Kirsty Sedgman (2016) amongst others, this paper will examine what these productions make of their audiences – and what their audiences make of them.<br>
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<strong>Dr. Helen Freshwater</strong> is a Reader in Theatre and Performance at the University of Newcastle. Her publications include <em>Theatre & Audience</em> and<em>Theatre Censorship in Britain: Silencing, Censure and Suppression </em>(both Palgrave Macmillan,
2009). Her next monograph, provisionally titled <em>Performing Childhood</em>, focuses on major twenty-first century British theatre productions and ‘megamusicals’ that have been performed across the world. It presents analyses of the popular appeal of the
child performer and the way that they – and the forms of childhood they embody – are styled for cultural export and consumption. </div>
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<div style="font-size:13px">Jenny Salisbury</div>
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<div style="font-size:13px">PhD candidate | Centre for Drama, Theatre and Performance Studies</div>
<div style="font-size:13px">The University of Toronto</div>
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<div>jenny.salisbury@mail.utoronto.ca</div>
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