The Art of Spectatorship

Abstract

Proceeding from the assumption that a performance takes place in and through the bodily co-presence of actors and spectators, and arises out of their encounter, this essay surveys theories of spectatorship within European cultures from the 17th century until today with regard to the key concepts of spectatorship in theatre. Particular emphasis is placed on the emergence of the idea around 1800 that spectatorship is an art by itself, which a century later led to the discourse on ‘active’ vs. ‘passive’ spectators. With the help of examples from contemporary theatre, this essay traces the different ways in which the aesthetics of a performance can transfer spectators into liminal situations, possibly resulting in various kinds of transformation. Instead of working with concepts such as Wirkungsästhetik (aesthetics of effect) or reception aesthetics, the suggestion is to use the term ‘transformative aesthetics’, which seems more appropriate with regard to spectatorship as an art.

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