A prison audience: women prisoners,Shakespeare and spectatorship

ABSTRACT

In 2017 the Donmar Warehouse presented The Tempest to women prisoners at HMP New Hall, UK. The production was part of a trilogy of Shakespeare plays directed by Phyllida Lloyd, each staged with an all-female cast and each set within a women’s prison. Over the five years of developing this trilogy the Donmar undertook extensive research and development into the prison context, including in collaboration with York St John University’s Prison Partnership Project. This paper explores the prison audiences’ experiences of The Tempest, examining how they responded to seeing their own lived experiences on stage, filtered through the prism of Shakespearian plot, characterisation and language. In particular, this paper focuses on moments of identification, where the women found direct resonance and self-recognition with the characters and experiences in The Tempest. At the same time it draws on discourses from dramatherapy and aesthetic theory to argue for the importance of various forms of emotional, empathetic and psychical distance. Using close analysis of the spectators’ responses, it describes how for the prison audience the result was an oscillation between identification and distance, a reading of “me but more than me” that produced a powerful affective and reflective impact.     

浅析地域规划设计中的自我确证

自我确认是人类肯定自我存在的一种意识行为。在地域规划设计中,设计的作品是否符合人们的观赏愿望,由观赏人群能否从设计作品中获取自我确认来决定。这种自我确证,很多时候成为地域规划的设计出发点与深化标尺。     

The Digital Future of Terrestrial Advertiser-supported Television 1

The digital transmission of signals greatly increases the channel carrying capacity of the broadcast spectrum and provides scope for a substantial increase in the number of television channels transmitted terrestrially in each broadcasting market. A simple model of a hypothetical advertiser-supported television market shows that with increased channel numbers the average audience size for programmes and channels will decline, advertising revenue per channel will decline, programme costs per audience member will increase, and average profit per channel will decline. In practice, with digital terrestrial television the number of new channels licensed will continue to be subject to government regulatory decisions. But even with liberalisation of licensing policy, the economics of advertiser-supported television broadcasting will impose severe limitations on the number of new channels that any market can support. Digital interactive television services offer commercial broadcasters the prospect of a new source of revenue. The financial viability of these services, however, is not yet proven. Another unknown factor is the impact that personal video recorders will have on television advertising revenues. The transition from analogue to digital terrestrial transmission will have wide-ranging effects on commercial television viewing, but probably not on the structure and ownership of the television broadcasting industry.