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dc.contributor.authorWeir, Lucy
dc.identifier.citationWeir, L. (2014). Audience manipulation? Subverting the fourth wall in Pina Bausch’s Kontakthof (1978) and Nelken (1982). Scottish Journal of Performance, 1(2), pp. 17–36.en_US
dc.description.abstractPina Bausch’s Tanztheater breaks everyday behaviour into its most elemental fragments, and fundamental aspects of stage etiquette are constantly challenged, not least the barrier between performer and spectator known as the fourth wall. Accordingly, the hierarchy of the theatre space is thrown into question, and the audience’s preconceived notions of boundaries, appropriate behaviour and expectations are left open ended. In the following article, two case study examples of Bausch’s works—Kontakthof (‘Meeting Place’, 1978) and Nelken (‘Carnations’, 1982)—have been selected in order to demonstrate the range of techniques Bausch employs in manipulating the fourth wall. Both are lengthy in duration and extremely complex, layered works of dance theatre, illustrating Bausch’s varied methods of audience manipulation at what I have identified as a ‘golden period’ in her career. This article explores the process of audience manipulation through Bausch’s peripatetic use of the fourth wall, illustrating that, as dance theatre has evolved, the performance event has become increasingly confrontational and direct, engaging with the audience in a more provocative manner, and calling into question the limits of the theatre space.en_US
dc.publisherThe Royal Conservatoire of Scotlanden_US
dc.relation.ispartofScottish Journal of Performanceen_US
dc.rightsThis work is licensed under a Creative Commons Attribution 4.0 International License.en_US
dc.subjectPina Bauschen_US
dc.subjectFourth wallen_US
dc.subject.lcshPerforming arts--Researchen_US
dc.titleAudience manipulation? Subverting the fourth wall in Pina Bausch’s Kontakthof (1978) and Nelken (1982)en_US
dc.typeJournal articleen_US
dc.description.versionPublisher PDFen_US
dc.statusPeer revieweden_US

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