Assignment:
“THE ELEMENT OF DRAMA
(AUDIENCE)”
BY:
INDA RAHAYU (A1D4 09 028)
MUH. OKTARA WANDY S (A1D4 09 041)
SALMA ABDUHU (A1D4 08 094)
WA ODE SULASMIN (A1D4 09 071)
WA ODE SITI NURINDAH (A1D4 09 078)
CHAPTER I
INTRODUCTION
general
Drama
is a form of literature. In the drama, the writer wanted to convey a message through acting and dialogue.
Usually drama show
something common in our daily lives, so
that the audience are invited to
participate as if watching and feel the
life and events in the community.
There are different types of drama: Comedy, tragedy, farce, mellow drama and musical.
Beside
that we must know the essential element of drama, there are:
1.
Character
2.
Plot
3.
Theme
4.
Dialogue
5.
Convention
6.
Genre
7.
Audience
8.
Stagecraft
9.
Design
10.
Conversion
In
this matter we can tell more about one of the essential element of drama, that
is audience.
Ø Purpose
Our purpose in
discussing this matter is to discuss more about one of the elements of the drama that is
the audiences.
Ø Objective
of this write
-
To
explain the definition of audience
-
To
explain history of audience
-
To
explain the types of audience
-
To
explain audience aspect
CHAPTER
II
A.
DEFINITION OF AUDIENCE
Audience is the assembled spectators
or listener at a public event such us a play, film, concert, or meeting, the
people who watch or listen to a television or radio, readership of a newspaper,
magazine, or book and the people giving attention to something.
B.
HISTORY OF AUDIENCE
Because the development of the
concept of an audience and the evolution of different forms of media are
intertwined, their growth is connected throughout history. According to Tony
Bennett, “the modern concept of the audience as the receivers of messages from
a centralized source of transmission, then, was not present at the birth of the
modern media but has emerged in tandem with their development and, in part, as
a product of their own practices.”
The examination of audiences is a
new field. Researchers paid relatively little attention to audiences before the
invention of television and radio in the early twentieth-century. Robert Snyder
described how technological advances radically re-formed the way audiences were
conceived.
Through the middle of the nineteenth
century, the audience for popular entertainment was constituted in highly
public places. In the twentieth century, however, popular culture came to be
defined by records, film, radio, and television– the products of a centralized
entertainment industry that disseminates what it produces to a nationwide, and
increasingly international, audience.
New, modern methods for
communicating, entertaining, and conveying information produced different
variations of the public.
With the increasing popularity of
film in the early twentieth century and the rapid diffusion of radio in the
1920s, and 1930s, the composition of the public shifted dramatically. As the
new media captured the public imagination, community-based group faded further.
Advertisers and politicians started to exploit new communication technologies
to influence buying and voting decisions while broadcasters developed new means
to study their audiences.
Recently, however, scholars from
various fields (media studies, cultural studies, anthropology, psychology,
consumer research, and the newest addition, audience studies) have begun to
investigate audiences.
Whilst the second half of the
twentieth century saw a significant growth in audience studies, with the actual
concept of ‘the audience’ moving through the arc of passive sap to interactive
player, it was arguably the 1990s with saw the most significant shift in
thinking about the audience with the widespread incursion of the internet into
everyday lives and culture and the explosion in talk and reality TV shows.
Knowledge about audiences has become
an increasingly important commodity for media producers. Broadcasters and
advertisers spend a significant amount of time and money in an attempt to learn
about those who watch/read/listen to different kinds of media. In their efforts
to market products and increase the popularity of their programming (be it
audio, visual, or textual), researchers work to meet the high demand for
information about audience preferences and tastes.
Audience measurement is a type of
audience research that documents the size and composition of media audiences.
It allows patterns of audience activity to be tracked over time and it
generates the type of data that permits comparison of audience behavior from
one medium to another. An industry-based research service, audience measurement
generates information that is essential to the operation of media industries.
Information about audience size and composition is, after all, the basis on
which programming and pricing decisions are made.
This connection between audience
research and marketing has greatly influenced how media producers understand
the public and design their products. Often, the success or failure of a media
product (a television show, movie, radio program, and website) is determined by
audience response, and so it follows that examinations of the public as media
consumers has a direct impact on the kind of media that are developed. As
Richard Peterson writes, “media history offers many illustrations of how
audiences and markets are only tenuously related to each other and how the
measurement concepts and methods of the time determine that relationship”.
Often, those producing media are advised to “know your audience” and tailor
their products for a specific group, a specific taste, specific values, etc.
“An occasional premise of communicator studies has been that professional mass
communicators hold or at least, ought to hold some image of their audience”. As
previously stated, these kinds of statements become problematic in that the
definition of an audience is unclear. With no concrete notion of exactly what
an audience is (or, for that matter, is not), it continues to be challenging to
clarify these ideas. As James Anderson reminds us, “theories of the audience
should take account of the fact that ‘it’ is always a construction."
C.
TYPES OF AUDIECE
1. Particular (real) Audiences
In rhetoric, particular audiences
depend on circumstance and situation, and are characterized by the individuals
that make up the audience. Particular audiences are subject to persuasion and
engage with the ideas of the speaker. Ranging in size and composition,
particular audiences can come together to form a "composite" audience
of multiple particular groups.
2. Immediate Audiences
An immediate audience is a type of
particular audience that is composed of individuals who are face-to-face
subjects with a speaker and a speaker’s rhetorical text or speech. This type of
audience directly listens to, engages with, and consumes the rhetorical text in
an unmediated fashion. In measuring immediate audience reception and feedback,
(audience measurement), one can depend on personal interviews, applause, and
verbal comments made during and after a rhetorical speech.
3. Mediated audiences
In contrast to immediate audiences,
mediated audiences are composed of individuals who consume rhetorical texts in
a manner that is different from the time or place in which the speaker presents
a text. Audiences who consume texts or speeches through television, radio, and
Internet are considered mediated audiences because those mediums separate the rhetoric
and the audience. Understanding the size and composition of mediated audiences
can be difficult because mediums such as television, radio, and Internet can
displace the audience from the time and circumstance of a rhetorical text or
speech. In measuring mediated audience reception and feedback (a practice
called audience measurement), one can depend on opinion polls and ratings, as
well as comments and forums that may be featured on a website.
4. Theoretical (imagined) audiences
Theoretical audiences are audiences
that are imagined for the purpose of helping the speaker compose, or a critic
to understand, a rhetorical text or speech.
5. Self as audience
(self-deliberation)
When rhetoric deeply considers,
questions, and deliberates over the content of the ideas they are conveying, it
can be said that these individuals are addressing the audience of self, or
self-deliberating. Scholars Chaim Perelman and L. Olbrechts Tyteca, in their
book The New Rhetoric: A Treatise on Argumentation, argue that the rhetoric
"is in a better position than anyone else to test the value of his own
arguments." The audience of self, while not serving as the ends to all
rhetorical purpose or circumstance, nevertheless acts as a type of audience
that not only operates as a function of self-help, but as instrument used to
discover the available means of persuasion.
6. Universal audience
The universal audience is an
imagined audience that serves as an ethical and argumentative test for the rhetoric.
It requires the speaker to imagine a composite audience that contains
individuals from diverse backgrounds and to discern whether or not the content
of the rhetorical text or speech would appeal to individuals within that
audience. Scholars Perelman and Olbrechts Tyteca ascertain that the content
addressed to a universal audience "must convince the reader that the
reasons adduced are of a compelling character that they are self-evident, and
possess an absolute and timeless validity". The concept of the universal
audience has received criticism for being idealistic because it can be
considered as an impediment in achieving persuasive effect with particular
audiences. Yet, it still may be useful as an ethical guide for a speaker and a
critical tool for a reader or audience.
7. Ideal audience
An ideal audience is a rector’s
imagined, intended audience. In creating a rhetorical text, rhetoric imagines a
target audience, a group of individuals that will be addressed, persuaded, or
affected by the speech or rhetorical text. This type of audience is not
necessarily imagined as the most receptive audience, but as the future
particular audience that the rhetoric will engage with. Imagining such an
audience allows rhetoric to formulate appeals that will grant success in
engaging with the future particular audience. In considering an ideal audience,
rhetoric can imagine future conditions of mediation, size, demographics, and
shared beliefs among the audience to be persuaded.
8. Implied audience
An implied audience is an imaginary
audience determined by an auditor or reader as the text's constructed audience.
The implied audience is not the actual audience, but the one that can be
inferred by reading or analyzing the text. Communications scholar Edwin Black,
in his essay, The Second Person, presents the theoretical concept of the
implied audience using the idea of two personae. The first persona is the
implied rhetoric (the idea of the speaker formed by the audience) and the
second persona is the implied audience (the idea of the audience formed by and
utilized for persuasion in the speech situation). A critic could also determine
what the text wants that audience to become or do after the rhetorical situation,
is a group of people who enjoy listening to various music or speeches. The
person who empower them the most, is it reformed yes or no?
D.
AUDIENCE
ASPECT
The
ultimate goal of staging is the audience. Audience response going back and forth between the audience and watched. Some
directors are less concerned about the audience and assume that the audience is a group of consumers who will be able to take for granted what is presented. Thus,
if there is a failure in the performance, the audience is often considered not
understand or less educated to understand the idea of a staging.
Because the audience is one element in the play, the director, and the team needs to consider staging crowd trouble.
Because the audience is one element in the play, the director, and the team needs to consider staging crowd trouble.
1. Reasons people watch
a. Basic human desire.
a. Basic human desire.
·
Recognition
is the audience can recognize the existence of life seen
in the play. Life is manifested through the
actor who played.
·
Adventure is
human life is not complete without having a new experience that matters. Theatre is
a world of action adventure.
·
Safety,
the safest way is
to do in life as a spectator.
The audience witnessed the events (also
sad) in the stage,
but he does not experience
it.
b.
similarity driving
Most of the emotions
that dominate the story is based on the similarity of emotions the audience and
actors. Similarity driving
them together, the
audience knew back several
aspects of himself on stage and felt
able to take part in the scenes in the
play.
c.
Another reason:
the variation of life, relaxation, gives it a rest for the mind, provide entertainment. In addition, the theater provides a unique artistic
and emotional beauty. Reasons people to watch should be considered by the director and
team performances so the audience does not get bored and leave before staging is complete.
2. Audience Response
a. artistic Detachment
a. artistic Detachment
Response is an ideal, because
the audience is able to maintain the
artistic objectivity. This is
achieved by determining the aesthetic work of art in mind. These responses resulted in what is called the aesthetic experience.
b.
participation illusion.
Due
to the similarity
of the driving reasons, spectators often have the
illusion of participation with
fantasy stories. This is
indicated by the imitative
motor (body movement in accordance with the motion in the play) and the identification
of emotion (the audience
sees the character sees himself as figures).
Because the ideal response to the audience is
artistic detachment, there are some things that need to be considered by the directors, namely:
·
Creating
arrangement / structuring
the right upper auditorium
(the audience) and
the stage area.
·
The
artistic boundaries proscenium.
·
Stage
area light and the
dark auditorium.
CHAPTER III
A.
CONCLUTION
The audience is most important,
where a group of individuals gathered together at a certain time and place for
no purpose other than to see the performance (though some may be doing other
things: placing bets, writing reviews, wasting time, etc.), that is aware of
itself as a group.
REFERENCES
http://oxforddictionaries.com/definition/english/audience
http://global.britannica.com/EBchecked/topic/590310/theatrical-production/42005/Relation-to-the-audience
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