AUDIENCE FOR SPECIAL PURPOSES

A group of focused spectators who watch more performances of the performance. A temporary collective made of theatre professionals of different backgrounds. AFSP made seven watchings of 'The Best Soup! The Best Soup' and five watchings of 'The Storm'. Member of AFSP crosses the ramp and enters performance at the first watching. Proclaiming AFSP as a performance of watching that performs focused perspective and given attention. Structural analysis of art project: AFSP as an art collective; as a collective directing; as an art work; as a repeated watching of the same performance by the same audience. Branko Gavella's principle of the sociability and the common normal of adopting. AFSP consolidates with dominant norm as a specially active and collaborative factor in theatre creation. Provoking collective relation to the stage ramp. Interplay creates a new unit in the receiving collective. AFSP acts as a new unit that creates interplay with stage. Performing and receiving collectives are in different aesthetical paradigms. AFSP's position between normatives. Patrice Pavise's definition of the collective directing. Anarchy and Bruno Latour's ANT theory. Absent members of AFSP represented by avatars. Art procedures that acknowledge performing of watching as arranged and collective act of art. Resistance of different knowledges and art practises. Analysis of group dynamics. Gustav le Bon and his definitions of crowds. Impressionability as a confusing strategy of parliament crowds. Collective trance and group compassion. Inaccurateness of observing is exchanged for the intensity of experiencing. Group's basic inability to overcome a Renaissance individual. Replacing subject of research with researchers. Erika Fischer Lichte connects crisis with liminal situation and Victor Turner's theory. Acquiring a new status as a special watching collective. Marcel Duchamp's equation for measuring success of artwork: author intention and non-intended elements. AFSP as a self managing political situation. The signifier mess created by AFSP. Theatre as the most radical event art form and an art practise of a momentary event (Hans-Thies Lehman). The external sociability (Gavella). Transformation of theatre event into a new aesthetical order. Sibila Petlevski on Mihail Bahtin's concept of comprehension and meaning. Jan Mukarowsky's distinction between collective individual and audience. AFSP as an abstract painting explained by Roman Ingarden. Art procedure as a manifestation of the attitude of the structure towards the material (Mukarowsky). Spectator as an equal creator and not just co-creator (Gavella, Fischer-Lichte). Transformation as a basic protocol of AFSP. A self-sufficient gesture of declaring AFSP as AFSP. The ethical response from a spectator changes the convention of watching as a not problematic social form of behaviour.