An investigation into whether the application of Peter Eversmann's cognitive dimension (2004) can analyse what the spectator experiences at a theatrical event, and whether its application can measure a performance's efficacy. Based on an in-depth analysis of The Wooster Group's Hamlet (2007)

Abstract

This study aims to examine whether the use of Peter Eversmann's cognitive dimension structure (2004) can analyse what the audience experiences in the theatrical event. On thorough analysis of this inquiry, the study will determine whether Eversmann's theory can be generalised to the theatrical experience as a whole. Furthermore, this study will investigate whether the application of Eversmann's theory can measure a performance's artistic efficacy, the results of which will inform a specific discussion about the strengths and limitations of Eversmann's theory as a measurement system of theatre. A case study on the audience perception of The Wooster Group's Hamlet (2007) will provide the foundation of this study. Second hand audience conversations, interviews with the company and professional reviews will offer an indication of how the production was interpreted and if the responses fall under Eversmann's dimensions. This aim will be achieved through an interrogation of each subdivision of the cognitive dimension - Recognition of Oneself or of Familiar Circumstance, Understanding the Meaning of the Performance, Recognition with a Character and Intellectual Stimulation. The evidence suggests that Peter Eversmann's structural dimensions can be applied to analyse what an audience does or does not observe in the theatrical encounter. However, this study goes further to argue that Eversmann's structural dimensions are not necessarily an effective way of evaluating the efficacy of a theatre event particularly one which disrupts conventional forms of performance.