Contemporary Trends in Audience Engagement and Their Implications for Genre Development in KUPAA
Abstract
Theatre, as a dynamic and responsive art form, continually evolves in response to shifts in audience engagement. In recent years, contemporary spectatorship has moved beyond passive observation toward active participation, significantly influencing both performance aesthetics and the evolution of theatrical genres. This paper examines contemporary trends in audience engagement and their implications for genre development within the Kenya Universities Performing Arts Association (KUPAA). Grounded in reception theory, the study investigates how audience interaction informs creative direction and genre diversification in university theatre. The research adopted a qualitative methodology, targeting KUPAA officials, directors, performers, and audiences. Data was collected using purposive and snowball sampling techniques and analysed through thematic and document analysis. Findings revealed that emerging trends such as mashup plays, shadow performance, legislative theatre, and activist-driven content are reshaping genre boundaries and performance strategies. These innovations reflect a deliberate shift towards complexity, interactivity, and social relevance, with audiences actively co-constructing meaning rather than passively consuming content. This study is justified by the need to understand how evolving audience agency influences theatre-making within academic institutions. Its findings are particularly significant for Kenyan practitioners, offering practical insights into the creation of performances that resonate with intellectually engaged audiences. In the wider African context, where storytelling traditions and ritual forms intersect with modern theatre, the study contributes to scholarship on genre hybridity and cultural responsiveness. Globally, it engages with contemporary discourse on participatory and postmodern performance, affirming the role of the audience as a vital co-creator in the theatrical process. The paper concludes by calling for further research into digital theatre, indigenous forms, and policy influences that continue to shape the future of genre in both local and international theatre landscapes.
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