Stage and audience relations in the European theatre

This Graduate Thesis titled "Stage and Audience Relationships in European Theatre" examines stage and audience relationships from past to present, and deals with the audience in terms of having room for action as well as the elements that shape audience perceptions. In this line of thought, it has been decided that the receiver in theatre has equal importance as the work of art and the actors. Later on the concept of the receiver in theatre is examined, and it is revealed that the audience is the deciding force, and his/her perception shapes the meaning of the performance. Theatre is also an art of action. Hannah Arendt's definition of the continuity of action suggests that every action done on stage leads to a subsequent action. This line of action not only affects the actors on stage, but also affects the passive audience members who are drawn into the stream of action. The audience's action in this case can be defined as his/her interpretation of the performance on stage as a result of cultural and educational background, past memories, current psychological state and several other factors which affect one's perception. It is important to note that even though a director sets out to reach the audience in a certain tone, what the viewer receives and perceives is entirely personal and cultural. Defined as the fundamental problem in this thesis, this dilemma has led to the evualation of the viewer on a philosophical and psychological level. The exploration of aspects and elements on stage that affect the viewers experience and perception is evaluated by examples. It is without doubt that directors contstruct their staging to connect with the audience, and direct to deliver their vision to the audience in their works. If directors are able to define their target audience and monitor theatrical elements that affect viewer perception, they will be better able to form clearer experience for the audience. This thought defines the hypothesis of this thesis, and Patrice Pavis's three principal perspectives on a spectator's ways of looking: psychological, sociological, anthropological, is offered as a tool for the director during staging, which the audience may abserve their possibilities and impossibilities. With this approach, it is believed that a director can better characterize the given play, and create a more effective and definitive impact on the audience.