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Actors and Audiences: Conversations in the Electric Air

Why conversations?Why electric air?What is an audience member?Writings about actors and audiencesThe interviewsThe performancesBook structureNotesI Electric airThe electric air of theatreDescriptors of the electric airAtmosphereLivenessElectricityUndercurrents of the electric airTheatrical undercurrentsSuspension of disbeliefThe encounterEphemeralityNarrativePsychological undercurrentsTransferenceProjectionIdentificationEmpathySociological undercurrentsPresenceCelebrity magnetismCommunityNotesThe view from the stageWho is the actor?BackstageOnstagePresenceDouble consciousnessStage frightWhom do they see?EncounterAudience presenceConversationsNo electric airThe curtain callNotesThe view from the audienceWho is the audience member?In the houseProximityElectricity and atmosphereWhom do they see?The encounterDouble consciousnessPresenceCharismaDrawing powerSpace-filling ekstases“Being”: authenticity and comfortThe curtain callNotesII ConversationsHeisenberg’s psychological conversationsThe production and the projectPsychological undercurrentsTransferenceIdentificationProjectionEmpathyThe suspension of disbeliefConsentShutting out the worldFilling in the gapsDouble consciousnessHeisenberg workshops: extending the conversationNotesEncounters with The EncounterThe production and the projectDouble consciousnessNarrativeEncounterIntimate distanceCommunityPresenceQuestions raisedExtending the conversation: theatre of the mindNotesHunger. Peer Gynt: a thirst for conversationsThe production and the projectStimmungTuning to the spaceTuning to the artworkTuning to each otherTuning to the actorsTuning to the audienceThe walk-outAudience and the walk-outActors and the walk-outAtonality and tuned spaceExtending the conversation: reaching out from the borderNotesThe electric airThe conversationsRelationshipRelational audience researchNotesAppendix: Actor biographies

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