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Audience Participation and Meaning-Making in Every Brilliant Thing: Based on Blending Theory

  • Journal of Humanities, Seoul National University
  • 2024, 81(4), pp.545-579
  • DOI : 10.17326/jhsnu.81.4.202411.545
  • Publisher : Institute of Humanities, Seoul National University
  • Research Area : Humanities > Other Humanities
  • Received : October 14, 2024
  • Accepted : November 12, 2024
  • Published : November 30, 2024

Jang Youngji 1

1서울대학교 인문학연구원

Accredited

ABSTRACT

This paper explores the audience participation strategies and meaningmaking processes in the solo performance Every Brilliant Thing. It specifically analyzes the narrative and storytelling strategies of the performance, along with the concrete participation strategies that invite the audience to become co-creators of the production. In this performance, the narrator recalls past events in the present moment, shares them with the audience, and invites them into the story. The audience takes on the role of the narrator's counterpart, actively engaging in storytelling and performing specific roles depending on the situation. The diverse responses and participation of the audience are incorporated into the performance, generating new meanings with each performance. Thus, the audience plays a significant role as a cocreator of the production. To illuminate the significance of such audience participation, this paper combines performance analysis with Blending theory, which addresses higher-level aspects of human cognition. Blending theory offers a new perspective in analyzing dramaturgy, participation strategies, and the audience reactions captured during actual performances. By applying Blending theory, this study analyzes the narrative strategies that traverse different times and spaces and examines the moments of convergence between stage and audience. It investigates the aspects and meanings of blending and re-blending that occur within the narrative or inside the theatre. This research contributes to contemporary theatre studies, particularly in the context of solo performances, by providing insights into audience participation and suggesting an alternative approach to understanding audience cognition.

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