Watch Henry V Online Hulu' title='Watch Henry V Online Hulu' />Henry Jenkins. Thanks to several decades of research on the audiences for contemporary popular media, we now know much about various forms of fan engagement and participation. Yet, I am always hungry for more historical work that explores these same questions, if for no other reason, so we have a context for understanding what is distinctive about the current moment and what have been recurring issues around media audiences across a broader time span. I was, thus, very excited to learn of a new book, Playwriting Playgoers in Shakespeares Theater, which provides deep insights into the forms of participation desired and achieved by theatergoers in Elizabethian England. Its author, Matteo A. Pangallo, has uncovered a range of original scripts written by amateur playwrights with fantasies in many cases that they might join the repertoire of the various theater troops of the era. Watch The Legend Of Chupacabras Online'>Watch The Legend Of Chupacabras Online. Through careful readings of this archival material, Pangallo gains deep insight into the forms audience engagement and participation took during this formative moment in Western popular theater. Given a chance to interview Pangallo, who contacted me because he was interested in the parallels and differences with contemporary fan culture, we were able to explore the historical roots or lack thereof of contemporary phenomenon, such as fan fiction, spoiling, catch phrases, and fan service. I appreciate his willingness to engage with my questions, since this interview offers a productive bridge between historians and cultural studies researchers writing about audiences. We both try hard not to get too anachronistic in describing these practices as an early form of fandom, a word and concept not in use during this period, but we can certainly see playgoers as forming intense relations with plays, characters, and performers, which encouraged them to return for multiple viewings, to share their insights with each other and the producers, and to create their own works in the same genres of the plays they admired. This is the first of a number of interviews I plan to run through the fall, exploring the current state of fandom and fan studies. Keep reading. You write about an audience stage relationship that was intensely dialogic, participatory and creative. In what ways What forms did audience participation take and what did the professional theater troops do to recognize this grassroots creativityHulu is also the place to find recent hit movies, and even some original series. If youre considering completely cutting cable for good, a Hulu subscription will. The Mindy Project, The Addams Family, and The Magnificent Seven are among Hulus new offerings for September. Henry Jenkins is the Provost Professor of Communication, Journalism, Cinematic Arts and Education at the University of Southern California. He arrived at USC in Fall. Most fundamentally, as a commercial enterpriseindeed, Englands first regular, cultural commercial enterpriseShakespeares theater empowered its audience with the ability to shape through consumer demand the kinds of content produced by the playmakers. If a particular genre, style of writing, or type of narrative were to fall from favor, attendance at those plays would fall off and the playmakers would have to shift the repertory away from that kind of material or risk losing paying customers to a rival playhouse or troupe. This power of the purse created a dynamic in which playgoers came to understand themselves as collaborative participants in shaping the plays that they were watching and the repertory of the companies. And many of the playmakers acknowledged as much often epilogues delivered at the end of a play would invite playgoers to identify what parts of a play they did not like, implying that the play could be revised and revived to align more fully with their desires whether or not playmakers actually followed through on such promises is unclear. Playmakers frequently drew attention some positively and some negatively to the fact that each audience member individually had the capacity to imagine and interpret the fiction that they were watching. But even beyond that kind of internalized participation, we have ample evidence of playgoers participating in an externalized fashion, making comments, both favorable and unfavorable, on plays in the midst of performance. I/51P0S2827PL.jpg' alt='Watch Henry V Online Hulu' title='Watch Henry V Online Hulu' />These responses included shouting out their own ideas for lines, bantering with the clown, mocking bad actors, throwing objects, hissing villains, cheering heroes, calling for popular bits to be done again and again, asking for particular jigs or songs, and so forth. In some instances, playgoers externalized responses during performance evidently prompted the actors to change or even abandon their original intentions that is, the playwrights script, though in other instances they likely ignored the outburst. Even when the outburst was ignored, however, in the context of a live performance, an unscripted response from any one playgoer necessarily informed for the rest of the audience their experiences and understanding of the play, with potentially radical results. There are a few accounts of a single spectator laughing at a tragedy or weeping at a comedy and, by virtue of their generically inappropriate conduct, changing how other playgoers thought about the play, subverting the playwrights and actors generic intentions for the play and, in effect, undermining the supposed authority of the mainstream cultural producers. We shouldnt forget that Shakespeares playhouse, with its shared light and three quarters seating sometimes with patrons even sitting on the stage or on the balcony behind the stage, was a venue in which audience members were as much on display as the play they had come to watch. It was an environment that encouraged consumers to connect with the producers and even intervene in the act of production, rather than, as in the modern proscenium arch theater, obediently disappear from view and observe silently. You have stumbled onto such a rich mine of materials here that offer us perspectives on what audiences of Shakespeares time thought about the theater. Watch Pirate Radio USA Online Facebook. Why are people just now writing about such practices Shakespeares audience has long been the subject of interest for scholars, though earlier audience studiessuch as Alfred Harbages 1. Shakespeares Audience, Ann Jennalie Cooks 1. The Privileged Playgoers of Shakespeares London, and Andrew Gurrs 1. Playgoing in Shakespeares Londonfocused less on audience experience and more on resolving the fundamental questions of who comprised those audiences, their demographics, playgoing habits, and preferred venues. A separate branch of audience studies took an interest in audience desire and experience, but addressed themselves to recovering evidence of that desire and experience through the critical study of plays written by professional playwrights. These studiessuch as Arthur Colby Spragues 1. Shakespeare and the Audience, Ernst Hongimanns 1. Shakespeare Seven Tragedies, The Dramatists Manipulation of Response, Jean Howards 1. Shakespeares Art of Orchestration, Ralph Berrys 1. Home Entertainment Hulu brings back TGIF sitcoms in September. Lots of movies join Hulus streaming movie catalog, but the end of the month brings back Danny Tanner. See Guthrie Theaters production of Lillian Hellmans classic political thriller, Watch on the Rhine. Performances September 30 November 5. Tickets now on sale. Talking with some fans, Riker himself, Jonathan Frakes, who also took a turn in the directors chair for an episode of Star Trek Discovery, shared an interesting. Shakespeare and the Awareness of the Audience, and Jeremy Lopezs 2. Theatrical Convention and Audience Response in Early Modern Dramacenter upon the reasonable premise that successful commercial playwrights such as Shakespeare were successful because they understood what their audiences wanted furthermore, truly effective playwrights like, again, Shakespeare could even control, or orchestrate, audience experience and desire. This approach, of course, does not actually study the audience itself rather, it studies the playwrights understanding of, and assumptions about, his audiencethat is, its really a study about the playwright, which is naturally going to be of interest when the playwright you are talking about is Shakespeare.