Peter Brook’s1 beginning of the ‘Empty Space’ assumes that a theatre performance consists of three very basic components. According to Brook, performances are dependent on a space in which spectator and actor come together and agree on a place which they call stage. It is in this real space that actors and audience imagine a fictional world. Brook’s quotation, beautifully, encapusulates the simplicity of any theatre performance while it oversimplifies the complicated processes of bringing a play to life in the same breath. The empty space which Brook defines in his work is not realistic. It rather symbolizes his personal need to liberate his artistic talent from the fixed and institutionalized British theatre venues of the 1960’s.
In fact, for the majority of modern theatre performances, it is the theatre building which provides the space for all three basic parts. Although, it is true that no more than an empty space is needed for staging a play, during the last centuries the majority of performances have been sheltered by purpose built theatres. Most theatres provide a stage in the form of a proscenium stage, thrust stage or stage in the round. How a spectator looks at the actors performing on this stage differs, depending on the charcteristics of each theatre venue. A space in the theatre, may it be empty or filled, connects the two most important parts of any theatrical event, the audience and the actors. Space in the theatre is, therefore, crucial for every performance.
The Elizabethan times mark the most influential period for modern theatre. Closely intertwined with the world’s most famous playwright, William Shakespeare, it is in this time that the first modern theatres were erected. Therfore, Shakespeare’s times and works are always closely connected with practices of today’s theatre.
The aim of this study is to research the relationship between the performance space of specific theatres and production of Shakespeare’s Roman plays in Great Britain, in 2006. It will be discovered to what extent performance space can influence production of Shakespeare’s Roman plays. Likewise, it will be examined how different productions make use of performance space. The question of which performance space works best for staging Shakespeare’s Roman plays in 2006 forms the basis of this case study.
Table of Contents
- Introduction
- PERFORMANCE SPACE - A THEORETICAL APPROACH
- FROM DESCARTES TO LEFEBVRE – PHILOSOPHY AND SPACE IN THE THEATRE
- THEATRE SEMIOTICS – MINIMAL UNITS AND THEATRE SPACE
- TAXONOMY OF SPATIAL FUNCTION IN THE THEATRE
- TAXONOMY OF PERFORMANCE SPACE
- SHAKESPEARE'S ROMAN PLAYS PRODUCED IN 2006 - A CASE STUDY
- METHODOLOGY
- SWAN THEATRE – ANTONY AND CLEOPATRA produced by Gregory Doran
- SWAN THEATRE - A HISTORY
- SWAN THEATRE - ACTOR/AUDIENCE RELATIONSHIP
- SWAN THEATRE – ‘BARE STAGE' AND MODERN THEATRE TECHNOLOGY
- ROYAL SHAKESPEARE THEATRE – JULIUS CAESAR AND TITUS ANDRONICUS produced by Sean Holmes and Yukio Ninagawa
- ROYAL SHAKESPEARE THEATRE – A HISTORY
- ROYAL SHAKESPEARE THEATRE – A DIFFICULT PERFORMANCE SPACE
- ROYAL SHAKESPEARE THEATRE – THEATRE OF SPECTACLE
- SHAKESPEARE'S GLOBE BANKSIDE, LONDON – CORIOLANUS, ANTHONY AND CLEOPATRA AND TITUS ANDRONICUS produced by Dominic Dromgoole and Lucy
- SHAKESPEARE'S GLOBE BANKSIDE, LONDON – A HISTORY
- SHAKESPEARE'S GLOBE BANKSIDE, LONDON – ACTOR/AUDIENCE RELATIONSHIP
- SHAKESPEARE's GLOBE BANKSIDE, LONDON – STAGE DESIGNERS VS. ‘ORIGINAL PRACTICES’
- Conclusion
Objectives and Key Themes
This study investigates the relationship between performance space and the production of Shakespeare's Roman plays in Great Britain during 2006. It aims to determine the extent to which performance space influences the production of these plays and how different productions utilize the available space. The central question explores which performance spaces are most effective for staging Shakespeare's Roman plays in 2006.
- The impact of performance space on the production of Shakespeare's Roman plays.
- The relationship between audience and actors within different theatrical spaces.
- The influence of theatre architecture on the interpretation and communication of Shakespeare's Roman plays.
- A comparative analysis of different theatrical productions of the same plays in various venues.
- The interplay between modern theatrical technology and traditional staging techniques in the context of Shakespeare's Roman plays.
Chapter Summaries
Introduction: This introduction sets the stage by referencing Peter Brook's concept of "empty space" and its implications for theatrical performance. It contrasts Brook's minimalist ideal with the reality of purpose-built theatres and their influence on the actor-audience dynamic. The introduction establishes the study's focus on the Elizabethan era's impact on modern theatre and the relationship between specific theatre spaces and productions of Shakespeare's Roman plays in 2006. The study's methodology is briefly outlined, highlighting the case study approach focused on productions at the Swan Theatre, Royal Shakespeare Theatre (RST), and Shakespeare's Globe.
PERFORMANCE SPACE - A THEORETICAL APPROACH: This chapter provides a theoretical framework for analyzing performance space, drawing on philosophical perspectives from Descartes to Lefebvre to explore the concept of space in the theatre. It delves into theatre semiotics, examining the minimal units and how they interact with the theatrical space. The chapter further introduces a taxonomy of spatial function in the theatre and a taxonomy of performance space, creating a structured approach to analyzing the various spatial elements influencing theatrical productions.
SHAKESPEARE'S ROMAN PLAYS PRODUCED IN 2006 - A CASE STUDY: This chapter presents a detailed case study examining productions of Shakespeare's Roman plays in 2006. It meticulously analyzes three distinct theatre venues – the Swan Theatre, Royal Shakespeare Theatre (RST), and Shakespeare's Globe – and their respective productions of *Antony and Cleopatra*, *Julius Caesar*, *Titus Andronicus*, and *Coriolanus*. Each venue's history and its architectural characteristics are considered in relation to the specific production mounted within its walls. The analyses delve into the actor-audience relationship and the integration of modern theatrical technology within each unique space.
Keywords
Shakespeare, Roman plays, performance space, theatre architecture, actor-audience relationship, theatrical production, staging, Swan Theatre, Royal Shakespeare Theatre, Shakespeare's Globe, modern theatre technology, Elizabethan theatre, case study, 2006 theatre season.
Frequently Asked Questions: A Study of Shakespeare's Roman Plays and Performance Space in 2006
What is the overall focus of this study?
This study investigates the relationship between performance space and the production of Shakespeare's Roman plays in Great Britain during 2006. It aims to determine how different performance spaces influence these productions and which spaces are most effective.
What are the key themes explored in this study?
Key themes include the impact of performance space on Shakespeare's Roman plays, the actor-audience relationship in different theatrical spaces, the influence of theatre architecture on play interpretation, a comparative analysis of productions across various venues, and the interplay between modern technology and traditional staging techniques.
What theoretical framework is used to analyze performance space?
The study draws on philosophical perspectives from Descartes to Lefebvre to explore the concept of space in the theatre. It also incorporates theatre semiotics, examining minimal units and their interaction with theatrical space, and introduces taxonomies of spatial function and performance space for structured analysis.
Which Shakespearean plays and venues are analyzed in the case study?
The case study focuses on productions of Antony and Cleopatra, Julius Caesar, Titus Andronicus, and Coriolanus at three distinct venues: the Swan Theatre, the Royal Shakespeare Theatre (RST), and Shakespeare's Globe.
How does the study analyze the different venues?
Each venue's history and architectural characteristics are considered in relation to the specific production mounted. The analyses delve into the actor-audience relationship and the integration of modern theatrical technology within each unique space.
What is the methodology of this study?
The study employs a case study approach, focusing on specific productions at the Swan Theatre, Royal Shakespeare Theatre (RST), and Shakespeare's Globe in 2006. The introduction also references Peter Brook's concept of "empty space" as a contrasting point of reference.
What are the chapter summaries?
The introduction sets the context and outlines the methodology. The second chapter provides a theoretical framework for analyzing performance space. The third chapter presents a detailed case study of the Shakespearean productions across the three venues, analyzing each in relation to performance space and actor/audience dynamics.
What are the keywords associated with this study?
Keywords include Shakespeare, Roman plays, performance space, theatre architecture, actor-audience relationship, theatrical production, staging, Swan Theatre, Royal Shakespeare Theatre, Shakespeare's Globe, modern theatre technology, Elizabethan theatre, case study, and 2006 theatre season.
What is the purpose of the Table of Contents?
The Table of Contents provides a detailed overview of the structure of the study, outlining the introduction, theoretical framework, case study, and conclusion, along with specific sub-sections within each major component.
What is the overall conclusion of this study (implied)?
While not explicitly stated in the provided text, the implied conclusion is an understanding of how different performance spaces impact the staging and interpretation of Shakespeare's Roman plays and how these spaces interact with modern theatrical technology and traditional techniques.
- Citation du texte
- Philipp Reul (Auteur), 2006, The Relationship between Performance Space and Production of Shakespeare's Roman Plays, Munich, GRIN Verlag, https://www.grin.com/document/73638
