Communication, Criticism and Research in Performing Arts

Abstract

Cultural criticism has traditionally configured as a narrative of aesthetic appreciation and judgment to guide the viewer’s perception. But with the gradual implementation of a spectacle model oriented to mass publics, journalistic criticism has focused on the creation and consolidation of audiences, a device intended to identify cultural consumption habits, to stabilize the criteria of communication of spectacle and ultimately to guide the thinking and performance practices in the context of political and cultural markets. The political economy of the spectacle has contributed to the standardization of the offer, to the detriment of the diversity of performance practices and the habituation of the public to an spectacle ballasted by a dramaturgical conception away from the contemporary staging and theatrical processes.