Huang, Yunjing; (2025) Performing Arts Archives as Public Engagement: An Exploration and Expansion of Theatre Heritage. Doctoral thesis (Ph.D), UCL (University College London).

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Abstract

This PhD research project investigates the utilisation and public engagement of Performing Arts Archives [PAAs] and explores their role in shaping theatre heritage discourse. It specifically addresses the question of how PAAs can act as agents in democratising the process of shaping theatre’s cultural memory as a channel for theatrical encounters. Drawing on Marvin Carlson’s concepts of ‘the entire theatre experience’ and ‘ghosting nature,’ this study conceptualises theatre heritage as the process through which cultural memory is shaped by past theatre experiences and operates in the meaning-making process of future theatrical encounters, informed by the historical, cultural, and social elements of attending performances. The research adopts a people-centred public engagement model that emphasises meaningful and participatory interaction with PAAs to bridge them with theatre heritage discourse. This model comprises two initiatives: bottom-up engagement and empowerment. It prioritises encouraging subjective responses and affective engagement, empowering participants to create new meanings and alternative interpretations of archival materials. Through case studies of three prominent UK cultural institutions—the National Theatre Archive, the V&A Theatre and Performance Collections, and the University of Bristol Theatre Collection—this study examines existing public engagement practices and identifies strengths and limitations in their strategies. Findings reveal that while current practices tend to rely on traditional, top-down models, encapsulated in the Public Engagement of Learning [PEL] mode, some projects adopt more inclusive engagement through a Public Engagement of the Social and Civic [PESC] framework. Despite its intent to promote inclusivity, PESC can itself be problematic when practitioner-led frameworks centralise authority, limiting diverse voices and neglecting the emotional dimensions of audience interactions with PAAs. This hinders the achievement of the two initiatives within people-centred public engagement. In response to my observations from the case studies, I develop what I call an object-based oral history approach to better fulfil the initiatives within this framework. This approach integrates oral history and Revisiting Collections methodologies, encouraging participants to interact with archival materials meaningfully, allowing them to reinterpret and recontextualise their experiences within the framework of theatre heritage. By prioritising affective engagement, the approach expands the interpretations of PAAs and democratises the process of meaning-making, enabling a broader spectrum of voices to contribute to the cultural narrative within theatre heritage discourse. A pilot study evaluating the effectiveness of this approach, which serves as the fourth case study, indicates that the object-based oral history approach transforms PAAs from static historical documents into dynamic cultural objects that actively engage audiences and facilitate interaction, interpretation, and meaning-making. Unlike static objects, which remain fixed in their significance, dynamic cultural objects evolve in meaning through the experiences, emotions, and contexts of those who engage with them. This concept emphasises the role of cultural objects as catalysts for dialogue, reflection, and community participation, allowing diverse perspectives and interpretations to emerge over time. Ultimately, this research contributes to the ongoing construction of theatre heritage by proposing a new model of public engagement that prioritises subjective and experiential dimensions. This research successfully addresses the question of how PAAs can act as agents in democratising cultural memory within theatre heritage. The findings demonstrate that PAAs can be transformed to dynamic cultural objects that inspire diverse interpretations. This transformation is facilitated by the object-based oral history approach, which fosters meaningful, people-centred engagement focused on affective engagement. Participants are empowered to contribute to theatre heritage discourse by generating new meanings and alternative interpretations. By recalling and recontextualising personal experiences, engaging with PAAs becomes integral to ‘the entire theatre experience’, shaping cultural memory and enhancing future meaning-making processes.

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