Introduction to Theatre Theatre Spaces and Venues

Intro to Theatre Theatre Spaces

1. Theatre Spaces

2. Creating the Environment Even before the curtain rises, the theatrical experience has begun. The atmosphere of the theatre building can set the audience’s mood as well as create expectations. Audience members should note: Is the space formal or informal? Is it large or small? How is the stage configured? How is the audience seated?

3. The Proscenium Stage This is the most familiar type of theatre space. The word proscenium comes from the proscenium arch (the frame that outlines the stage and separates the stage space from the audience space). The auditorium, also referred to as the house, or the front of the house, where the audience is seated, is slanted or raked to allow all rows the ability to see the stage clearly. Many proscenium auditoriums include a balcony or two, and the main floor seating is known as the orchestra . The large stage area allows for elaborate scenery, shifted using a fly loft on a counterweight system.

4. The Proscenium Stage Advantages. Perfect arrangement for spectacle because machinery can be hidden behind the proscenium opening. Suits realistic scenery. The frame focuses the audience’s attention on the stage. Provides a detachment or distance from the audience. Disadvantages. Temptation to get carried away with visual spectacle. Gives a sense of formality and remoteness to the audience.

5. The Arena Stage This is also known as circle theater or theatre-in-the-round. The playing space is in the center of the room, with the audience surrounding the stage on all four sides (much like a boxing ring). Often either the stage is raised or the audience is raised above the floor. The arena stage is intimate, allowing the audience to literally form a circle around the performers. It is economical; elaborate scenery is both unnecessary and impossible because all sides of the audience must be able to see the performance.

6. The Arena Stage Advantages. More intimate than the proscenium stage. No frame or barrier to separate the performers from the viewers. Economy of space: only needs a large room. Disadvantages. Elaborate scenery would block views of spectators. Performers must enter and exit along aisles through the audience and might be seen before they are supposed to be.

7. The Thrust Stage One of the oldest and still popularly used space in theatre. With a thrust stage, the audience sits on three sides or in a semicircle, surrounding the stage, which projects into the middle of the audience. The thrust stage makes the play seem more intimate, with the performers acting within arm’s reach of the audience. It was developed by the Greeks and used by the Romans, Elizabethans, Chinese, and Japanese, and during the Spanish golden age. In medieval times, the platform or trestle stage was a version of the thrust.

8. The Thrust Stage The Ancient Greeks may have invented the idea of a space built just for performing theatre. Their original idea was to place the actors in the center on one side and wrap the audience around on three sides.

9. The Thrust Stage The Globe Theatre in Elizabethan England (and the modern version) use the Thrust Stage. In the 16 th century it was a completely unique design for a theater.

10. The Thrust Stage Advantages. Creates a closer performer-audience relationship. Many of the world’s greatest dramatic works were written for this type of space. Performers can enter and exit alongside audience members or from the rear of the stage.

11. Traverse or Alley Stage Seating arranged on 2 sides of acting area. Very intimate for the audience. Usually no fly system. Allows for the use of the ends of the “alley”. AUDIENCE STAGE AUDIENCE

12. Flexible Theatre Space – “Black box” Often referred to as a black box since it is basically a bare room with black walls. Indoor or outdoor; small or large. Intermingled arrangement may use to create multiple focus. No rules for the audience/actor relationship. Arrangement changes from production to production . Flexible space has been used since the 1960s.

13. Created and Found Spaces Challenging the notion of theatrical space. Non-theatre buildings. Lofts, warehouses, fire stations, basements, churches, breweries, gymnasiums, etc. Use unusual structures as they are, with their original architectural elements intact. Site Specific and Immersive Theatre Spaces A production created for a unique, found location. Adapted spaces. Using a space to fit a play rather than making the play fit the space.

14. Created and Found Spaces Street theatre. Held outdoors in nontraditional settings. Consists of three types: Plays from the standard repertoire presented in the streets. Neighborhood theatre—an original play deals with problems and aspirations of a specific population of a city. Guerrilla theatre—aggressive, politically oriented theatre produced by an activist group in the streets in an attempt to persuade audiences to become more politically involved.

15. Multifocus Environments More than one playing area. Something is going on in several areas simultaneously. More like everyday life. You select which area you will observe (choice). No single space or activity is more important than others. Often joined with multimedia theatre.