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Performing the Self as Work: A Mixed...

Robersmith, Adam.

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Performing the Self as Work: A Mixed Methods Study of Public Intimacy.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Performing the Self as Work: A Mixed Methods Study of Public Intimacy./
Author:	Robersmith, Adam.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2024,
Description:	192 p.
Notes:	Source: Dissertations Abstracts International, Volume: 86-01, Section: A.
Contained By:	Dissertations Abstracts International86-01A.
Subject:	Social research. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31483516
ISBN:	9798383228111

Performing the Self as Work: A Mixed Methods Study of Public Intimacy.
Robersmith, Adam.

Performing the Self as Work: A Mixed Methods Study of Public Intimacy. - Ann Arbor : ProQuest Dissertations & Theses, 2024 - 192 p.

Source: Dissertations Abstracts International, Volume: 86-01, Section: A.

Thesis (Ph.D.)--Fielding Graduate University, 2024.

Public intimacy is a form of labor in which a performer, through self-revelation, genuine presence, and immediate interaction, creates an intimate connection with an audience. Scholarship on performance theory, scholarly literatures on intimacy (including philosophy, sociology, and psychology), emotional labor theory, and authentic leadership theory underpin this study. Seventeen participants from four working types of public intimates-actors, activists, clergy, and sex workers-described the social contexts and inner experiences of their work during interviews. Using grounded theory and phenomenological methods, the study found common experiences among workers in all four types. Participants described the necessity of immediate feedback from audiences in performance as necessary for the experience of intimacy as a performer. No other social structures were identified as necessary for public intimacy to occur, although intersectionality and parasocial relationships were frequently named as having significant effects on the performers and their work. Participants also described their internal experiences of public intimacy in terms of embodiment, emotion, meta-cognition, spirituality, and perception of connection with the audience. All participants spoke about the experience of risk and vulnerability as well as bodily sensations (including tension and relaxation) in performance; relational perception during performance from visual, auditory, and intuitive cues; and a change in thinking and awareness during performance compared to daily life.

ISBN: 9798383228111Subjects--Topical Terms:

2122687
Social research.
Subjects--Index Terms:

Authenticity

Performing the Self as Work: A Mixed Methods Study of Public Intimacy.
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245 1 0 $a Performing the Self as Work: A Mixed Methods Study of Public Intimacy.
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500 $a Source: Dissertations Abstracts International, Volume: 86-01, Section: A.
500 $a Advisor: Rosenthal, Patrice E.
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520 $a Public intimacy is a form of labor in which a performer, through self-revelation, genuine presence, and immediate interaction, creates an intimate connection with an audience. Scholarship on performance theory, scholarly literatures on intimacy (including philosophy, sociology, and psychology), emotional labor theory, and authentic leadership theory underpin this study. Seventeen participants from four working types of public intimates-actors, activists, clergy, and sex workers-described the social contexts and inner experiences of their work during interviews. Using grounded theory and phenomenological methods, the study found common experiences among workers in all four types. Participants described the necessity of immediate feedback from audiences in performance as necessary for the experience of intimacy as a performer. No other social structures were identified as necessary for public intimacy to occur, although intersectionality and parasocial relationships were frequently named as having significant effects on the performers and their work. Participants also described their internal experiences of public intimacy in terms of embodiment, emotion, meta-cognition, spirituality, and perception of connection with the audience. All participants spoke about the experience of risk and vulnerability as well as bodily sensations (including tension and relaxation) in performance; relational perception during performance from visual, auditory, and intuitive cues; and a change in thinking and awareness during performance compared to daily life.
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