Pub Date : 2021-12-06DOI: 10.1163/26659077-24020004
Napasri Timyam
To build up the empirical description of elf’s morphosyntactic system, this study examines Thai elf users’ characteristics of relative clauses and analyses the causes underlying their use of the construction. Data were taken from the writing of 116 advanced and upper-intermediate English majors at a university in Bangkok. The results indicated that Thai elf users’ relative clauses exhibit preferences for unmarked and explicit structures. Both linguistic and functional causes are responsible for their production of the construction: they form relative clauses full of basic and transparent structures in order to ensure simple and successful communication. The overall results reveal the nature of elf communication. Although Thai elf users’ relative clauses are associated with some specific patterns, their use of this grammatical construction is governed by general linguistic processes which have been found to operate in the interactions of many groups of elf speakers, especially at the phonological and pragmatic levels.
{"title":"Thai elf Users’ Characteristics of Relative Clauses","authors":"Napasri Timyam","doi":"10.1163/26659077-24020004","DOIUrl":"https://doi.org/10.1163/26659077-24020004","url":null,"abstract":"\u0000To build up the empirical description of elf’s morphosyntactic system, this study examines Thai elf users’ characteristics of relative clauses and analyses the causes underlying their use of the construction. Data were taken from the writing of 116 advanced and upper-intermediate English majors at a university in Bangkok. The results indicated that Thai elf users’ relative clauses exhibit preferences for unmarked and explicit structures. Both linguistic and functional causes are responsible for their production of the construction: they form relative clauses full of basic and transparent structures in order to ensure simple and successful communication. The overall results reveal the nature of elf communication. Although Thai elf users’ relative clauses are associated with some specific patterns, their use of this grammatical construction is governed by general linguistic processes which have been found to operate in the interactions of many groups of elf speakers, especially at the phonological and pragmatic levels.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"312 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114331011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-06DOI: 10.1163/26659077-24020005
R. Tyers
Roberto Bolaño’s Amulet explores the writing of history as an attempt to construct a narrative from a multitude of unreliable and conflicting sources. As a result, any attempt at historiography is also plagued by the problems of representation found in literature. More particularly, not unlike detective fiction, history is concerned with identifying the inspirations and actions of its players and with revealing the truth about an episode or series of episodes, using historical information, all of which may or may not be reliable. By examining the relationship between the historical and the fictional in Amulet this paper will discuss Bolaño’s use of the tropes of metaphysical detective fiction and how they help foreground the difficulties posed by historical facts by reinventing them in fiction. This will, in turn, highlight the intersection between detective fiction and historiographic metafiction and how by combining these two genres writers can reimagine historical contexts and find new meanings and significance.
{"title":"Historiographic Metafiction and the Metaphysical Detective in Roberto Bolaño’s Amulet","authors":"R. Tyers","doi":"10.1163/26659077-24020005","DOIUrl":"https://doi.org/10.1163/26659077-24020005","url":null,"abstract":"\u0000Roberto Bolaño’s Amulet explores the writing of history as an attempt to construct a narrative from a multitude of unreliable and conflicting sources. As a result, any attempt at historiography is also plagued by the problems of representation found in literature. More particularly, not unlike detective fiction, history is concerned with identifying the inspirations and actions of its players and with revealing the truth about an episode or series of episodes, using historical information, all of which may or may not be reliable. By examining the relationship between the historical and the fictional in Amulet this paper will discuss Bolaño’s use of the tropes of metaphysical detective fiction and how they help foreground the difficulties posed by historical facts by reinventing them in fiction. This will, in turn, highlight the intersection between detective fiction and historiographic metafiction and how by combining these two genres writers can reimagine historical contexts and find new meanings and significance.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134084612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-06DOI: 10.1163/26659077-24020002
Krisda Chaemsaithong
Viewing language as a system consisting of grammatical resources for meaning making, this study explores how agency and responsibility are attributed in legal narratives through the lens of transitivity. Drawing upon the opening address of three American trials, the quantitative and qualitative findings indicate that agency and blameworthiness of the individuals on trial are discursively negotiated through starkly different grammatical choices, so that polarized positionings of the same social actors and events are accomplished for the audience. It is argued that such manipulation of grammatical resources exhibits subjective intervention on the part of the presenter and constitutes a prime mechanism of inference and attitudinal evocation for the jurors. In effect, the opening statement, which is in principle intended to be merely informative, becomes not only argumentative but also evaluative.
{"title":"Agency, Responsibility, and Actor Positioning In Courtroom Narratives","authors":"Krisda Chaemsaithong","doi":"10.1163/26659077-24020002","DOIUrl":"https://doi.org/10.1163/26659077-24020002","url":null,"abstract":"\u0000Viewing language as a system consisting of grammatical resources for meaning making, this study explores how agency and responsibility are attributed in legal narratives through the lens of transitivity. Drawing upon the opening address of three American trials, the quantitative and qualitative findings indicate that agency and blameworthiness of the individuals on trial are discursively negotiated through starkly different grammatical choices, so that polarized positionings of the same social actors and events are accomplished for the audience. It is argued that such manipulation of grammatical resources exhibits subjective intervention on the part of the presenter and constitutes a prime mechanism of inference and attitudinal evocation for the jurors. In effect, the opening statement, which is in principle intended to be merely informative, becomes not only argumentative but also evaluative.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114377018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-06DOI: 10.1163/26659077-24020007
Tabtip Kanchanapoomi, Wannapa Trakulkasemsuk
Laughter is not just an element in human communication that signifies happiness and enjoyment, it can be used as a communication strategy to lubricate successful interaction including business communication. Nonetheless, not many studies have paid attention to laughter in business communication. Therefore, this paper sheds light on how Thai and Burmese participants used laughter in a restaurant and in a business meeting in Yangon, Myanmar. Audio data was collected together with various pieces of ethnographic data, for example, participant observations reported from extensive field notes, semi-structured interviews and audio recordings. The analysis was based on the classification of laughter adopted from Hayakawa (2003), and Murata and Hori (2007). The findings reveal that laughter is deployed as a communication strategy with different purposes such as to make fun of work, to ease tension and to threaten other interlocutors and unveil those factors which stimulate the laughter in informal and formal settings.
笑不仅仅是人类交流中表示快乐和享受的一个元素，它可以作为一种沟通策略来润滑成功的互动，包括商业沟通。然而，关注商务交际中的笑的研究并不多。因此，本文揭示了泰国和缅甸参与者如何在餐馆和缅甸仰光的商务会议上使用笑声。音频数据与各种民族志数据一起收集，例如，从广泛的实地笔记、半结构化访谈和音频记录中报告的参与者观察结果。该分析基于Hayakawa(2003)和Murata and Hori(2007)对笑声的分类。研究结果表明，笑是一种沟通策略，有不同的目的，比如取笑工作、缓解紧张、威胁其他对话者，并揭示了在非正式和正式场合激发笑的因素。
{"title":"Laughter as Strategies in Business Communication Between Thai and Burmese Professionals","authors":"Tabtip Kanchanapoomi, Wannapa Trakulkasemsuk","doi":"10.1163/26659077-24020007","DOIUrl":"https://doi.org/10.1163/26659077-24020007","url":null,"abstract":"\u0000Laughter is not just an element in human communication that signifies happiness and enjoyment, it can be used as a communication strategy to lubricate successful interaction including business communication. Nonetheless, not many studies have paid attention to laughter in business communication. Therefore, this paper sheds light on how Thai and Burmese participants used laughter in a restaurant and in a business meeting in Yangon, Myanmar. Audio data was collected together with various pieces of ethnographic data, for example, participant observations reported from extensive field notes, semi-structured interviews and audio recordings. The analysis was based on the classification of laughter adopted from Hayakawa (2003), and Murata and Hori (2007). The findings reveal that laughter is deployed as a communication strategy with different purposes such as to make fun of work, to ease tension and to threaten other interlocutors and unveil those factors which stimulate the laughter in informal and formal settings.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133773499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-14DOI: 10.1163/26659077-02401007
Usa Padgate
Venus, a play written by Suzan-Lori Parks, employs unconventional theatrical approaches in retelling the history of a 19th-century freak show attraction. This study examines how the critique of gender bias and sexual manipulations in Venus is explored and projected in ways that can be described as postmodern. Through the subversion of conventional forms and language, the blending of fact and fiction, the pastiches of both low and high generic and linguistic presentations, the liberating of a marginalized voice, and the revision of the philosophical premises that subordinate the female to the male order, the play questions the masculine determinacy inherent in social institutions and traditions and invites a conscious reconsideration of default meaning and truth.
{"title":"Unmaking Masculine Determinacy: A Postmodern Challenge in Suzan-Lori Parks’ Venus","authors":"Usa Padgate","doi":"10.1163/26659077-02401007","DOIUrl":"https://doi.org/10.1163/26659077-02401007","url":null,"abstract":"\u0000Venus, a play written by Suzan-Lori Parks, employs unconventional theatrical approaches in retelling the history of a 19th-century freak show attraction. This study examines how the critique of gender bias and sexual manipulations in Venus is explored and projected in ways that can be described as postmodern. Through the subversion of conventional forms and language, the blending of fact and fiction, the pastiches of both low and high generic and linguistic presentations, the liberating of a marginalized voice, and the revision of the philosophical premises that subordinate the female to the male order, the play questions the masculine determinacy inherent in social institutions and traditions and invites a conscious reconsideration of default meaning and truth.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120961310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-14DOI: 10.1163/26659077-02401002
Kanya Wattanagun
The rescue mission at Tham Luang cave in Chiang Rai, Thailand, presents a scenario in which magical rituals and technical knowledge were marshaled against hostile natural conditions. While practical endeavors were made to mitigate the risks and impediments posed by malign weather and topographical features of the cave, myths and rituals were enacted to control unruly factors not subject to human manipulation. In this paper, I argue that: 1) Magical rituals at Tham Luang cave did not originate from the participants’ confidence in the reality of supernatural beings but from their attempt to use alternative approaches to remedy a precarious situation when practical efforts and technical knowledge did not yield a desired outcome. 2) In this case, the participants regarded the reality of supernatural beings and their role in the rescue as a possibility rather than a self-evident truth.
{"title":"Against Hostile Nature: The Roles of Magic and Science in Thailand’s Cave Rescue","authors":"Kanya Wattanagun","doi":"10.1163/26659077-02401002","DOIUrl":"https://doi.org/10.1163/26659077-02401002","url":null,"abstract":"\u0000The rescue mission at Tham Luang cave in Chiang Rai, Thailand, presents a scenario in which magical rituals and technical knowledge were marshaled against hostile natural conditions. While practical endeavors were made to mitigate the risks and impediments posed by malign weather and topographical features of the cave, myths and rituals were enacted to control unruly factors not subject to human manipulation. In this paper, I argue that: 1) Magical rituals at Tham Luang cave did not originate from the participants’ confidence in the reality of supernatural beings but from their attempt to use alternative approaches to remedy a precarious situation when practical efforts and technical knowledge did not yield a desired outcome. 2) In this case, the participants regarded the reality of supernatural beings and their role in the rescue as a possibility rather than a self-evident truth.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"8 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127373910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-14DOI: 10.1163/26659077-02401001
Choedphong Uttama
John Cleland’s Memoir of a Woman of Pleasure (1748–49), commonly known as Fanny Hill, is regarded as the first pornographic novel in English literature. Its description of sexual activities is explicit but its language is not coarse. It employs a wide range of metaphors to refer to both sexual acts and genitalia and the metaphor used most frequently to refer to the penis is “the machine.” The machine metaphor will be the focus of this paper, which aims to argue that the machine metaphor carries two meanings. The first is the machine as one of military metaphors common in erotica since sexual acts have long been represented as battles. Female sexual pleasure, portrayed in this novel, depends on the state of being destroyed or conquered by a large machine. The second usage of the military metaphor suggests the strong affiliation between the penis and a hydraulic machine – the hydraulic penis—as this paper will call it. That is, female sexual pleasure is not only entwined with the state of being ruined but also with a fluid flow.
{"title":"“[T]hat Monstrous Machine of his”: The Machine Metaphor in John Cleland’s Memoir of a Woman of Pleasure","authors":"Choedphong Uttama","doi":"10.1163/26659077-02401001","DOIUrl":"https://doi.org/10.1163/26659077-02401001","url":null,"abstract":"\u0000John Cleland’s Memoir of a Woman of Pleasure (1748–49), commonly known as Fanny Hill, is regarded as the first pornographic novel in English literature. Its description of sexual activities is explicit but its language is not coarse. It employs a wide range of metaphors to refer to both sexual acts and genitalia and the metaphor used most frequently to refer to the penis is “the machine.” The machine metaphor will be the focus of this paper, which aims to argue that the machine metaphor carries two meanings. The first is the machine as one of military metaphors common in erotica since sexual acts have long been represented as battles. Female sexual pleasure, portrayed in this novel, depends on the state of being destroyed or conquered by a large machine. The second usage of the military metaphor suggests the strong affiliation between the penis and a hydraulic machine – the hydraulic penis—as this paper will call it. That is, female sexual pleasure is not only entwined with the state of being ruined but also with a fluid flow.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"121 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117310254","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-14DOI: 10.1163/26659077-02401005
Savitri Gadavanij
This paper explores what factors contribute to distinguishing gay sounding and straight man sounding speech; linguistic cognate or social knowledge and whether the gender of listeners also determines ability in identification. To answer these questions, 286 participants were classified by nationality into 3 groups of participants: Thai listeners as a control group, Zhuang, and Other listeners. They were asked to listen to 12 voice stimuli in Thai from straight and gay men and identify the gender of the speakers. The outcome revealed that the accuracy rate in identifying a speaker’s gender varied among the 3 groups of listeners with Thai listeners scoring the highest in gender identification, followed by the Others and Zhuang respectively. This indicates that social knowledge gained from one’s presence Thailand is more important than linguistic cognate. Gender identification may have been made based on the expectation of the ‘typical’ social scene such as the high visibility of gay men in Thailand. The results also suggest that gender of the listeners does not have a significant bearing on the ability to differentiate gay and straight male voices.
{"title":"Gender Identification in Language Other than Mother-Tongue: A Case of Non-Thai Listeners Deciphering a Thai Male Speaker’s Gender","authors":"Savitri Gadavanij","doi":"10.1163/26659077-02401005","DOIUrl":"https://doi.org/10.1163/26659077-02401005","url":null,"abstract":"\u0000This paper explores what factors contribute to distinguishing gay sounding and straight man sounding speech; linguistic cognate or social knowledge and whether the gender of listeners also determines ability in identification. To answer these questions, 286 participants were classified by nationality into 3 groups of participants: Thai listeners as a control group, Zhuang, and Other listeners. They were asked to listen to 12 voice stimuli in Thai from straight and gay men and identify the gender of the speakers. The outcome revealed that the accuracy rate in identifying a speaker’s gender varied among the 3 groups of listeners with Thai listeners scoring the highest in gender identification, followed by the Others and Zhuang respectively. This indicates that social knowledge gained from one’s presence Thailand is more important than linguistic cognate. Gender identification may have been made based on the expectation of the ‘typical’ social scene such as the high visibility of gay men in Thailand. The results also suggest that gender of the listeners does not have a significant bearing on the ability to differentiate gay and straight male voices.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127942049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-14DOI: 10.1163/26659077-02401008
Khalid Midam
This research paper examines the creative process used to connect young Muslims with their experience, their faith, and their community through a community-based performance. It also stresses the different levels of connections that resulted from the performance itself. The author sought to reconnect Barazan’yee, an important Arabic poetic chant, to people in the Bangkok Islamic community using tools from community theatre. The performance design process allowed them to tell their own story in relation to Bar’zanyee poetry in ways that are meaningful to them and their community, thus connecting their lives to the life of Prophet Muhammad. The first performance was in a public theatre resulted in a shift in structure and participation choices for audience in the second performance at a public theatre. Although both performances were conducted in a semi-ritualized environment of the Muslim community, the latter better engaged both the performers and audience.
{"title":"Connecting Faith through Theatre: Barazan’yee as a Semi-Ritual Performance in Thai Muslim Communities","authors":"Khalid Midam","doi":"10.1163/26659077-02401008","DOIUrl":"https://doi.org/10.1163/26659077-02401008","url":null,"abstract":"This research paper examines the creative process used to connect young Muslims with their experience, their faith, and their community through a community-based performance. It also stresses the different levels of connections that resulted from the performance itself. The author sought to reconnect Barazan’yee, an important Arabic poetic chant, to people in the Bangkok Islamic community using tools from community theatre. The performance design process allowed them to tell their own story in relation to Bar’zanyee poetry in ways that are meaningful to them and their community, thus connecting their lives to the life of Prophet Muhammad. The first performance was in a public theatre resulted in a shift in structure and participation choices for audience in the second performance at a public theatre. Although both performances were conducted in a semi-ritualized environment of the Muslim community, the latter better engaged both the performers and audience.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123002658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-14DOI: 10.1163/26659077-02401009
Piyawat Thamkulangkool
This research article examines the current situation of audiences in Thailand who attend non-mainstream contemporary theatre and dance, focusing on the barriers to building audiences for this type of performance. Mixed methods were used to collect data from various target groups, including qualitative methods like in-depth interviews, and focus groups for contemporary theatre and dance companies and arts spaces, and quantitative data gathered from audience questionnaires and surveys. The study revealed that many theatre and dance companies or groups run by artists often put more emphasis on their performance-making than on their organization or management. Such a production-centered emphasis often neglects the importance of two-way interaction between artists and audiences and shows insufficient appreciation of audiences in developing their performances and programs. The inattention of many performance companies or groups to their current and potential audiences and to techniques to build and develop them is widespread, but not universal. However, a few groups have worked to create and manage their performances based on audiences’ perspectives, thus both removing barriers to performance participation as much as possible and motivating transactional relations with audiences. Audience responses from these companies has led to greater audience engagement and improved audience appreciation.
{"title":"Audience Development in Thai Contemporary Theatre and Dance: A Study of the Barriers to Audience-Building","authors":"Piyawat Thamkulangkool","doi":"10.1163/26659077-02401009","DOIUrl":"https://doi.org/10.1163/26659077-02401009","url":null,"abstract":"\u0000This research article examines the current situation of audiences in Thailand who attend non-mainstream contemporary theatre and dance, focusing on the barriers to building audiences for this type of performance. Mixed methods were used to collect data from various target groups, including qualitative methods like in-depth interviews, and focus groups for contemporary theatre and dance companies and arts spaces, and quantitative data gathered from audience questionnaires and surveys. The study revealed that many theatre and dance companies or groups run by artists often put more emphasis on their performance-making than on their organization or management. Such a production-centered emphasis often neglects the importance of two-way interaction between artists and audiences and shows insufficient appreciation of audiences in developing their performances and programs. The inattention of many performance companies or groups to their current and potential audiences and to techniques to build and develop them is widespread, but not universal. However, a few groups have worked to create and manage their performances based on audiences’ perspectives, thus both removing barriers to performance participation as much as possible and motivating transactional relations with audiences. Audience responses from these companies has led to greater audience engagement and improved audience appreciation.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132655170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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