Three Applicational Spaces In Theatre

In some degree : theatre design is all about setting something somewhere. “somewhere” is not only a location but a three-dimensional space.  For S. K. Leung (2001,quote in Kant, 1991) “we cannot imagine objects without space but we can imagine space without object “.  In theatre context, space could be created, changed, connected, twisted and gave lives in numerous ways. The concept of whole space for audiences would be separated in three directions of physical space, hypothetical space and body space created by body and movement . For considering about the theoretic context support to my projects, I would like to search a conceivable way for transforming out subject into a space visually, format it in literature, explore consist elements  work in theatre space and finally, analysis them.

Every daily environment has its own atmosphere. The physical space is the basic medium for a theatre event. Brook, P (2005) claimed life is the beging and the basement of theatre. Indeed, theatre art is about the human communication which all roots in daily life. Benedetti, J ( 2008 ) introduced that Stanislavsky who contributed to realism theatre, followed Aristotle,  believed that real life is real and  recommended dramatic art could simulate , seek resonance and show a true reflection from the real life. However, Mumford,M (2008) thinks that Brecht had unequal opinion: realism created too much strong illusion of life.  Brook,P (2005 )gave his consider as well : if there is no difference between life space and theatre space ,why do theatre exist? For the immersive theatre or environmental theatre, people moved the theatre out from the theatre architecture, adopted to a circumstance or created a new architecture interior for the gist. For this type of theaters, an agreeable venue may offers a good preheat and ending of physical and psychometric activities as well as a good convert place for entering and leaving the theatre context. The experience of a  physical space for people would be decided by many aspect of subjective and objective condition like the size, height, surface texture, light, color, etc. Nonetheless,finally , it helps audience to understand and evaluate what they are known better. In my personal project, I choose the primary school as the venue of performance for reasons :1.This school shows the atmosphere of activities and wild which may impact successfully benefit visual and psychological for audience. 2. With the analysis of the script ,I would use the child’s way to communicate with the audience. 3. The protagonist is metaphor as a child, and my goal for audience is that they may look back of their childhood dreams and think about the possibility of their.

The second context of theatre space is the using of hypothesis which may be the most practical way for creating spaces. In traditional Chinese opera stage, people produce love romantic stories and millions of soldiers and mountains just by one table and two chairs.  (Using the imagination of specters among dialogue, movement, subtle elements )Brook, P(2008) recommend empty space because of the hypothesis as well : first of all , the limited technical conditions on the stage could never give the audience the illusion that television could offer; secondly, the absence of set is the prerequisites for audiences’ imagination. However, the hypothesis is not all about self perception and experience. Artaud, A (2014) proposed an opinion of theatre of cruelty criticize the false of reality life while be in in favor of liberation of the human subconscious and revelation of man to himself. Brecht,B (2008) oposite with that, he expound that actor should be independent in the role of a conscious and critical performance for audience can communicate directly in a impromptu context. After all, if theatre abandon the abundance of life, it may stand no more in the society with empty inner. Both of my personal collaborative project were applied by bare, white as the main tone spaces. For the personal project, I designed a route for audience experience with the exaggerated, upside down for the new architecture interior. With the route works, the set inside of the space would shift quickly for impress audience the overlap sense of same physical space and a hypothetical space.As for the collaborative project, we set a bare background as well, with the story went on, we add color, or items one by one in a metaphorical method for giving the enough possibilities for audience think infinitely.

Body is a motion and a thought of another space. The space occupied by the body is the most living parti in the theatre context,it included actors’ body, their movement and audiences. The human body, as a living body,include  slender skeleton, soft muscle and skin of woman, strong muscles and energetic men’s bones of man;tall and shorty,  overweight or thin, different body and different manner are all able to distribute their own temperament. For example, Frühlingsopfer, one of the famous work by Pina Bausch, the combination of  strong body gestures, music and her gauze dress show not only  aesthetic but liveness and strength. S,Richard (1973) stated body is flowing space,  “I believe there is an actual, living relationship between the spaces of the body and the space the body moves through.”he set up a series of rules and practices for people for touching ,feeling reading and identifying  the spaces for communicating with it. Peter Brook,P (2005) also assert the actors have sensitiveness and potential for building a bridge with audience in imagination.. Physical strength of body is derived in our collaborative project. We were guided to tested and different method of giving a circle in theatre space,  run fast, walk by kneed, climb, use foot. Our body were treated as a tool for deliver the story and sense to audience.Based on this, at the performance part of collaborative project, we were barefoot , tried to make our steps heave , my every motion was in strong, eyes contact to every audience in dark.

Based on three systems of modern Western drama from Stanislavsky , Antonin Artaud and Bertolt Brecht. All theories and practice analysis in this paper, ranging from the physical space, hypothetical space and body space talked about the significant portion of “space creation” in theatre design. In conclusion, space is the capacity of the theatre events.  Wherever landscape, street or grand architecture theaters, it is for communicating with specters and actors. This three spaces froms application discussed above would be the decisive components as a tool and method for better interflowing.

BIBLIOGRAPHY:

Benedetti, J ( 2008 ) Stanislavski:  An Introduction.London: An imprint of Bloomsbury Publishing Plc

S. K. Leung (2001) Metaphysics for a Humanist. Cambridge: Janus Publishing Company Lim

Schechner, R.(1973 ) Environmental Theatre . New York: Hawthorn Books Inc.

Brook, P (2008) The Empty Space. London: Penguin Modern Classics

Brook, P (2005) The Open Door. Anchor: Reprint edition

Artaud, A (2014) The Theatre and Its Double. London:  Alma Books

Mumford,M (2008)  Bertolt Brecht. Oxford: Routledge

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