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Street Theatre > Audience Interaction

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Trojan Pride Trojan Pride [ 56 sec. ]

2004 — This clip reveals the open corporate commercialism of the makers of Trojan condoms, as a cheerleading Trojan engages the audience in a competition to determine which side of the street can cheer the loudest. The winning side is rewarded when he throws a handful of condoms in their direction.

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Banana Phallic Symbol Banana Phallic Symbol [ 7 sec. ]

2004 — A Marcher wears a large inflatable banana (which displays the slogan "Slip me a Banana") which emanates from his groin, while parade observers assume actor status by misquoting Mae West — "Is that a banana or are you just happy to see me"?

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Crowd Member Crowd Member [ 14 sec. ]

2004 — Another aspect of Pride's assignation of actor status to observers is demonstrated by a crowd member who uses a balloon as a phallic symbol in emulation of the parade he witnesses, while also attempting to photograph elements of the parade.

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Water Fight Water Fight [ 25 sec. ]

2003 — Pride is punctuated with spontaneous water fights between marchers and the crowd. As the barricades along the parade route tend to restrict the crowd to passive observer status, these fights subvert this tendency by assigning actor status to the crowd.

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Drag Show Horseplay Drag Show Horseplay [ 30 sec. ]

2003 — Drag Queen with conspicuously exaggerated false breasts and equally conspicuous garish costume waves to and attempts to provoke reactions from both sides of crowd, while 2nd Drag Queen with equally conspicuous rainbow colored hair encourages crowd to "make some noise".

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CARIBANA go to top of page
Dancer and Cop [ 4 sec. ]

2004 — Dancer in the Caribana parade here approaches a policeman guarding the parade route and without any solicitation or warning begins "grinding" him, demonstrating two characteristics of the parade — its carnivalesque dimension and its tendency to assign actor status to the audience.

Dancer and Cop
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Dancer Gets Assistance [ 23 sec. ]

2004 — A dancer here leaves the parade route and enlists the help of a spectator in adjusting his costume, demonstrating that Caribana relies on the active participation of the audience as well as the organizers for the success of the event.

Dancer Gets Assistance
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Dancer Performs [ 10 sec. ]

2004 — Noticing that she is on camera, a dancer reacts by smiling directly into and then dancing specifically for the camera in an erotic manner, again demonstrating that Caribana is a carnivalesque event which seeks to evoke the active participation of the audience.

Dancer Performs
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Enthusiastic Observer [ 32 sec. ]

2004 — Audience member at Caribana dances enthusiastically as the Parade passes by, attracting the attention of a dancer in the parade who briefly interacts with the audience member before continuing down the parade route, demonstrating that Caribana is an interactive event.

Enthusiastic Observer
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Pro Dancers [ 30 sec. ]

2003 — A group of young female dancers interact with the audience and each other to display their energy and talent.

Pro Dancers
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Woman Wowed [ 22 sec. ]

2003 — A woman in the audience is wowed by the pageantry and the vitality of the performers.

Woman Wowed
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Dancing For The Camera [ 20 sec. ]

2003 — Caribana invites participants of all ages: a young-at-heart woman in a blue costume plays specifically to the camera, expanding the definition of audience beyond the present time and location.

Dancing For The Camera
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Audience Interaction Montage [ 30 sec. ]

2003 — This montage illustrates the continuity between spectators and performers in the fluid context of carnival -- teaming up together, breaking away from the dance to greet family, performing separately as audience.

Audience Interaction Montage
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FTAA go to top of page

World Trade (FTAA) Conference, Quebec City, April 2001
Performance techniques and the mechanics of Protest.

"Top of the List"/ "Take a Corporation Shower" Chants "Top of the List"/ "Take a Corporation Shower" Chants [ 46 sec. ]

Protestors engage in anti-corporate chants, which employ metres and rhythms usually associated with military drills and mainstream organized sports events, and which utilize a call-response pattern between actors and observers that is frequently associated with mainstream organized concert events.

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