playgoer

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References in periodicals archive ?
children attended theater and how this affected playgoing and
17) Both writers viewed playgoing as a potentially redemptive, instructive, and transformative form of mass entertainment that could build social solidarity for all auditors, and especially for those that shared a similar economic background, realizing that effectively reaching this group might entail diverging from the dramatic conventions popular with another.
Farah Karim-Cooper's chapter begins from the premise that the familiar terms "audience" or "spectators" are insufficient in suggesting the sensory experience of early modern playgoing, and sets out to include touch and, to a lesser extent, taste, in the range of relevant senses.
Howard, in Theater of a City: The Places of London Comedy, 1598-1642 (Philadelphia: University of Pennsylvania Press, 2007), applies the term "Exchange plays" to plays that represent the Royal Exchange (24), or as Andrew Gurr, in Playgoing in Shakespeare's London, 3rd ed.
Back in 1987, in his indispensable Playgoing in Shakespeare's London Andrew Gun observed that in what was almost a decade between the closure of the first Paul's playhouse and the opening of the second in 1599 the amphitheaters enjoyed a virtual monopoly, and he went on to suggest that in both houses "the players catered chiefly for citizen appetites.
Perhaps the most influential theatre historian of recent times, Andrew Gurr, has confusingly offered differing interpretations, sometimes acknowledging the evidence that playgoers sat on both indoor and outdoor stages, but more often either qualifying this view or completely dismissing the possibility of stage-sitters at the amphitheatres; see, for example, The Shakespearean Stage 209, 210-11, and Playgoing in Shakespeare's London 28, 30.
But Moody's is the first of these to plunge headlong into the daily, lived experiences of playmaking and playgoing in London.
We might ask why this should include references in letters to London playgoing events (the burning of the Globe, and Tomkyns's visit to the second Globe to see The Late Lancashire Witches in 1635), or the examination whether Foscarini actually touched Queen Anne on her visit to Bristol in 1613.
Gurr brings attention to the significance of this circular notion of theatrical space at the beginning of Playgoing in Shakespeare's London, where he points out that "Shakespearean playgoers were members of a crowd surrounding the speakers," and there were even some seats behind the stage indicating the occupants' "social eminence.
To ignore this potential link is not to undermine a playgoer's experience of the play, but to highlight the connection is to add a dimension to the pleasure of playgoing.
27) Peter Hanley, A Jubilee of Playgoing, London, 1887, 103.
To give an example, one of the thematic categories is "Theatrical Context to 1660," which is broken down into "The playgoing experience" (with ten entries, including two illustrations: Roxana's title page, and the title page of The Wits); "Theatre hierarchy, management, and records" (twenty entries); "The theatre building" (ten entries); "The stage space, mechanics, and properties" (thirty entries); "Theatre companies and patronage" (eleven entries); "Theatres" (twelve entries); "Inns" (one entry); "State regulation and court performances" (nineteen entries); "Anti-theatrical debate" (four entries); "Other entertainments" (five entries); "Theatre personnel to 1660" (forty-seven entries).
This riot actually had very little to do with playgoing.
One reason no doubt, in keeping with the remarks of one newspaper critic of the era, was that "The playgoing portion of our negro population feel more interest in, and go in greater numbers to see, the plays of Shakespeare represented on stage, than any other class of dramatic performance.
Andrew Gurr, in his invaluable analysis, Playgoing in Shakespeare's London (1987), provides information about female spectators, including their station, from ladies to prostitutes, and makes the important point that we need to be aware of the variable represented by different theaters, periods, and dramatists, while succeeding scholarship has tended to concentrate exclusively upon female spectators and how they are addressed in prologues and epilogues.