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Preliminary notes on audiences in Africa

Published online by Cambridge University Press:  07 December 2011

Karin Barber
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Résumé

Il est vraisemblable quʼil y ait des spectateurs à condition quʼil y ait des spectacles. La perception que cʼest l'orientation de l'auditoire vers l'orateur qui crée les spectateurs est le point de départ pour un développement plus approfondi dans les études des média et de spectacles qui met l'accent sur l'activité et la créativité du public. Si le public a un rô1e actif dans la création du spectacle, les historiens culturels qui cherchent à découvrir les histoires de conscience dans les genres populaires africain ne peuvent pas se permettre de l'ignorer. Mais les publics ne sont pas tous les mêmes. Ils sont un produit historique tout autant que le sont les spectacles. Il y a des manières différentes d'interpréter et de faire l'expérience du spectacle, soit collectivement ou en dispersion, qui sont profondement liées à la nature de la vie sociale, l'âge, et l'endroit. La façon dont les gens se retrouvent ensemble; la façon dont ils établissent un rapport entre eux et avec le spectacle ou le discours auquel ils assistent; de quoi ils se considèrent eux-mêmes faire partie en établissant ce rapport; la façon dont le spectacle/discours leur est adressé—tout ceci est spécifiquement culturel et nécessite des recherches empiriques. Certain publics africains particuliers ont des manières et des styles conventionnels de trouver du sens, tout autant que les artistes/orateurs. On doit se demander comment les publics font leur travail d'interprétation.

Information

Type
Introduction
Information
Africa , Volume 67 , Issue 3: Audiences in action , July 1997, pp. 347 - 362
Copyright
Copyright © International African Institute 1997

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