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As a consequence, we have less historical evidence of how women may have participated in the active behavior and social interpretation described in this chapter. Second, in the commercial arts sphere, most venues catered to economically mixed audiences. 3 Whether audience members were always physically segregated by class once inside the venue is a point of contention among historians, but it seems logical that in ticketed venues (including the Theater of Dionysus), a person’s ability to pay would have dictated where they sat.

5 Much of this debate (though not all, as we will see) occurred inside the arts venue in direct response to the live arts event. Period drawings, civic documents, newspaper commentary, memoirs, police records, and sometimes the arts works themselves illustrate that the atmosphere of the playhouse and concert hall was as much defined by the role played by the spectators as it was by arts workers. ”6 The examples of audience sovereignty cited in this chapter are part of the function of what Richard Butsch calls an “embedded audience”: an audience whose main focus is on immediate social interaction and not on the arts event per se.

In fact, both the historical record and what we know about how embodied learning operates support the notion that it is the other way around, as I explore below and in the following chapters. An Experience The Oxford English Dictionary gives the following definition for the word experience: “The fact of being consciously the subject of a state L. ”2 To be consciously affected is to undergo a change in condition. This is the sine qua non of human meaning making—a movement toward knowledge. ”3 Experience alone, however, is not the subject of the Arts Talk model.

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