HOW DOES THE WAY OF PRODUCTION AFFECT THE WAY AUDIENCES ENGAGE WITH A FILM

 vIn nondramatic theatre the performer generally acknowledges the presence of the audience and may even play directly to it. In dramatic theatre the actor may or may not do so. In Greek Old Comedy, for example, an actor speaking for the author might cajole, advise, or challenge the spectators. By contrast, the naturalistic actor plays as though a “fourth wall” closes off the room of the stage. Between these two extremes fall a variety of relationships. In some instances, although direct contact is made, the audience is itself assumed to be playing a role, as in trial plays in which the audience is treated as a jury or as spectators inthe court of justice. In other instances, the actor may address the audience one moment and play as though there were a fourth wall the next.

The quality of the contact between performer and audience is subtly modified by the nature of the performer’s place and role in society. In the broadest terms, the performer may be seen as a celebrant, servant, or critic of society. As a celebrant, the actor performs an almost priestly function, and in certain types of production the actor may in fact be a priest. In such instances, the actor mediates between the audience and the divine or spiritual dimension. In Greek tragedy, Japanese Noh theatre, and medieval mystery plays, the actions of the performers have both a religious and dramatic significance, but this is by no means always the case.