This article argues that fan studies has typically neglected theatre as an object of fandom, whilst theatre studies has, in turn, marginalised audience and fan studies. Challenging these structuring invisibilities, I will consider how fandom has been discursively constructed in the theatre »field« (Bourdieu 1993). Media fandom has often been positioned as external to the world of theatre, or discursively limited to commercial productions such as West End/Broadway shows, especially musicals. Contra such assumptions, I will analyze discourses of fandom within the theatrical field, considering how generational and media-technological developments have supported a fan-like »participatory culture« with regard to both highly commercial and ›legitimate‹ forms of popular theatre.
|Number of pages||17|
|Journal||Lili - Zeitschrift fur Literaturwissenschaft und Linguistik|
|Early online date||13 Oct 2017|
|Publication status||Published - 1 Dec 2017|
FingerprintDive into the research topics of 'Popular Theatre and its ›Invisible‹ Fans: Fandom as External/Internal to the Theatrical Field'. Together they form a unique fingerprint.
- Department of Communication & Humanities - Professor of Fandom Studies
- School of Arts and Humanities
- Centre for Participatory Culture - Director