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The Theatre Lobby Experience: the Audience's Perspective

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The Theatre Lobby Experience: the Audience's Perspective THE THEATRE LOBBY EXPERIENCE: THE AUDIENCE’S PERSPECTIVE _______________________________________ A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _____________________________________________________ by DAVID R. KILPATRICK Dr. Suzanne Burgoyne, Dissertation Co-Supervisor Dr. Cheryl Black, Dissertation Co-Supervisor MAY 2010 © Copyright by David R. Kilpatrick 2010 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled THE THEATRE LOBBY EXPERIENCE: THE AUDIENCE’S PERSPECTIVE presented by David R. Kilpatrick, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. Professor Suzanne Burgoyne Associate Professor Cheryl Black Professor Pat Atkinson Associate Professor David Crespy Professor Ruth Brent Tofle ………………….for my wife, Barbara and my daughter, Abigail ACKNOWLEDGEMENTS I would like to thank all of the respondents in this research project. For without them, this study would not have been possible. The generosity and spirit of helpfulness was often humbling for this novice researcher. I am particularly grateful for the participants in my pilot study who graciously guided me as I learned how to conduct interviews. I am also thankful for the four theatres that were open and free with information, The Court Theatre, Stephen’s College, The Fox Theatre, and Lander’s Theatre. I am indebted to the patience and support of my committee. Every member sought nothing but the best for me in my quest to understand the theatre lobby. Dr. David Crespy demanded the utmost in professionalism and commitment. Professor Pat Atkinson offered a special perspective on the topic and support that was particularly helpful in times of challenge. Dr. Ruth Tofle introduced me to architectural studies and grounded theory, for which I am grateful. Finally, Dr. Suzanne Burgoyne and Dr. Cheryl Black have the distinction of being my co-directors. Their tolerance of my various drafts, their support as I worked through personal and professional issues, and their commitment to making this project much better than I could do alone, for these things, I’m eternally grateful. I must acknowledge the assistance and contribution of my support team: my non- committee reader who insured that I did not embarrass myself, Jean Leiner; my study buddy who provided challenge and a healthy competition, Tim Stoller; my sister, Dee Braun, who kick started my transcriptions; and finally, the love and support from my ii number one fans, my parents, Jack and Jeanne Kilpatrick. In particular, they endured my rough rough drafts, providing a viewpoint that was insightful and helpful, and were the official nags to make sure this projected was completed. Lastly, but by no means least, I want to thank my wife and daughter. They have been patient with my schedule, generous with their encouragement, and supportive of my career aspirations. Because of and for Barbara and Abby, this project is complete. iii THE THEATRE LOBBY EXPERIENCE: THE AUDIENCE’S PERSPECTIVE David R. Kilpatrick Dr. Suzanne Burgoyne, Dissertation Co-Advisor Dr. Cheryl Black, Dissertation Co-Advisor ABSTRACT Theatre designers and historians, cultural historians, and performance theorists have suggested that a theatre lobby may have a significant impact on the theatre-going experience. Despite the theories and assumptions regarding how theatre lobbies may or ought to function, no systematic investigation addressed the question from the audience’s perspective until now. What meaning does the audience give to the lobby? Using the qualitative methodology grounded theory, analysis of directed interviews were collected for this study, and the following theory emerged: An audience member with enough time, space, and awareness encounters a person, an activity or some material goods that seizes his or her attention, resulting in a connection with the static, the public, the private or the performance. Consequently, the audience member experiences an individualized and memorable event experience. Three conditions are required for “attention:” space, time and something or someone compelling to the individual audience member. Under the right conditions, an audience member gives attention to the building, its contents, people, or activities inside. The attention leads to an interaction with some of these various elements, which leads to a memorable lobby experience. iv For this study, the lobby was delimited by space and by duration. Space was physical buildings including all interior audience social areas, from the outside entrance of the theatre building to the auditorium, as well as restrooms, the box office, concession stands, and any adjoining rooms. Duration was any time spent in the audience social areas, including prior to the performance, intermission, and after-show activities. From this study, four categories of lobby experiences emerged: a private experience, a public experience, experiencing the static, and performance preparation. In addition to the resulting theory, this study revealed that the background and training of each respondent affected his or her understanding of the lobby experience. Theatre-insiders are individuals who have knowledge of the production process. Theatre-supporters are those individuals who attend performances but have no significant background or training in theatre. Both types of audience members are important to theatre. A lobby experience is just one part of a fluid theatre-going experience, which may begin long before the curtain rises. Perhaps it starts when they walk in the front door and encounter the lobby, where they might find services for basic audience functions, purchase tickets, store outer garments, answer nature’s call, or imbibe in a drink. The lobby, as the entrance to the building, can be rich in history or decoration, setting a tone for the evening. The lobby can be the start of a significant performance, providing an introduction to what is to be found in the inner sanctum. The lobby may also be the social center of the theatre-going experience, where audience members can visit with old friends or make new ones. The theatre lobby provides humans the opportunity to connect v with others, the past, the present and even the potential. It is possible that any of these connections will lead to a significant and memorable theatre-going experience. vi TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................ ii ABSTRACT ................................................................................................................... iv LIST OF FIGURES ..................................................................................................... viii CHAPTER 1 – THE PROPOSAL ................................................................................1 Introduction .................................................................................................................1 Justification of the Study .............................................................................................5 Methodology ...............................................................................................................9 Scope of the Study ..................................................................................................... 11 Review of Literature .................................................................................................. 13 Conclusion ................................................................................................................ 18 Organization of the study ........................................................................................... 18 CHAPTER 2 – THE METHODOLOGY ................................................................... 20 Introduction ............................................................................................................... 20 History ...................................................................................................................... 20 Why Grounded Theory? ............................................................................................ 23 The Researcher .......................................................................................................... 29 Pilot Study ................................................................................................................. 33 Grounded Theory Procedures..................................................................................... 37 The Write-Up ............................................................................................................ 59 The Quest for Validity ............................................................................................... 60 CHAPTER 3 – THE THEORETICAL PERSPECTIVE ........................................... 62 Introduction ............................................................................................................... 62 Architectural Studies ................................................................................................. 62 Theatre Studies .......................................................................................................... 72 Theatre Practice ........................................................................................................
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