• This section treats the varied processes involved in the creation of a theatrical production
• Topics include:
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Theatrical Space and Production Design
Playwriting and Dramaturgy
Directing and Producing
Acting
Scenic Design
Costume Design and Makeup
Lighting and Sound Design

Chapter 11:
The Influence of Theatrical Space
• Factors that influence audience response and the use of production elements:
 Degree of formality
 Size
 Arrangement or configuration

• 4 common physical arrangements of the performer-audience relationship:
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Proscenium Arch Stage = acting area at one end with all spectators facing it
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Thrust Stage = acting area surrounded on 2 to 3 sides by audience
Arena Stage = acting area surrounded on all 4 sides by audience
Flexible Space = relationship between acting and audience areas as variable and flexible

STAGE
AUDIENCE
Thrust Stage
Proscenium Arch Stage
STAGE
AUDIENCE

AUDIENCE
Flexible Space
STAGE
AUDIENCE
Arena Stage
AUDIENCE
STAGE AREA
AUDIENCE

 Raised platform framed by arch
 Marks division between stage and auditorium clearly
 Sometimes includes an apron = extension of acting platform slightly beyond proscenium arch into auditorium
 Seats on one level or raked upwards toward back of auditorium; may include one or more balconies
 Stage designed to be seen from front only
 Overhead system for movement of scenery =
STAGE
 Offstage space at sides = wings
AUDIENCE

 Raised platform surrounded on 2 or 3 sides by seating
 Brings spectators closer to the action
 Discourages realistic spectacle due to sightlines
 Most do not have fly systems, although lighting instruments may be hung overhead
 Scenic units shifted by hand
STAGE
AUDIENCE

 No platform: open space at floor level
 Seating usually a stepped arrangement on 4 sides of acting area
 Fully 3-dimensional playing area
 Very restricted scenery due to sightlines
 Generally no fly system
• Scene changes made in full view or in semi-darkness, usually by hand
• Passageways running under seating and opening onto the acting area = vomitoria
AUDIENCE
STAGE
AUDIENCE

 No defined rules about the audience/actor relationship
 Arrangement changes from production to production or even during the same performance
 In modern times, the flexible space has been used since the 1960s
 When indoors: 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 multiple focus
AUDIENCE
STAGE AREA
AUDIENCE

• Some spaces function as audience facilities
• Other spaces function as work areas for theatrical personnel
• Auxiliary spaces for theatrical personnel may include:
1. Scene Shop
2. Property Room
7. Control Booths
8. Rehearsal Rooms
3. Costume Shop
4. Costume Storage
5. Light Shop
6. Lighting Storage
9. Dressing Rooms
10. Greenroom
11. Business Offices

 In most instances, the audience space cannot be manipulated; directors view it as fixed and unchangeable
 Some directors use Flexible Space as an integral part of production design
• Examples:
• Jerzy Grotowski
• Peter Stein

• Imagine seeing the same theatrical performance in each of the 4 common types of theatre spaces.
1.
How might your experience of the performance vary in each space?
2.
How would your relationship with the performers change based on the type of spatial arrangement?
3.
How would your relationship with other audience members change based on the type of spatial arrangement?
4.
Which type of space would you prefer? Why?

• The audience typically perceives a production design through hearing and seeing
• Aural components include:
• Sound Design
• Actor’s Voices
• Visual components include:
• Scenery
• Costumes
• Lighting
• Actor placement and movement

• Elements of design :
• Line
• Shape
• Space
• Color
• Texture
• Ornamentation
▫ These elements function as building blocks for designers and for the director

• Principles of design:
• Harmony
• Balance
• Variety
• Proportion
• Rhythm
• Emphasis
▫ These principles help the designers and the director to use the elements effectively

Costume Designer Scenic Designer
Lighting Designer Sound Designer
Director common interpretation or goal coordinated aspects of production cohesive experience for audience

Most designers begin with the play , completing a series of readings to accumulate relevant information on:
• Action
• Characters
• Themes
• Language
• Meaning

 Designers also use other sources to assemble information on topics such as:
• The specific look of the period of the play’s action
• The manners and customs of a time period or culture
• The theatrical conventions of the time period during which the play was written/performed
• The quality of light and sound in various locations indicated in the play
• The political and social contexts out of which the play came
 The designers and the director meet to discuss the play and its interpretational focus

Each element can project messages and evoke responses
Lighting
Costumes Sound
Scenery
Theatrical production is an inherently collaborative process. The final product is a group creation.