Theatre: Live Experience, Audience Dynamics, and Space

The Heart: Actors and Audience

• Theatre is a specific live event where humans perform in the physical presence of other humans; without that presence, it isn’t theatre. Other art forms (film, painting, etc.) can have value and meaning, but they are distinct experiences that should be appreciated on their own terms.
• A premise: theatre requires live interaction between actors and audience; if live theatre cannot happen, it can and will return later.
• A theatre performance is effectively a one-off event in any given night: even with the same cast, performances differ night to night due to human factors.
  • Possible differences include an actor forgetting lines, an actor covering for an ill colleague, or subtle changes in pacing.
  • Even with a perfect technical run, tomorrow’s performance will differ from tonight’s.
• Factors that create night-to-night variation:
  • The pace will be slightly different because actors are human and not robots.
  • The makeup of the audience will change.
  • The emotional states of actors and audience will differ based on daily experiences.
  • Current events can influence both audience and actors.
• The dynamic between actors and audience in theatre is circular and reciprocal:
  • The actors influence the audience, and the audience’s reactions in turn influence the actors’ subsequent choices.
  • In theatre, the communication is like a conversation; the actors are continually affected by the audience.
• Contrast with film/television:
  • Audiences may feel they know film actors, but that knowledge does not affect the performance on screen.
  • A movie is largely frozen and unchanging; audience reactions do not alter the performance.
  • There is no real, live feedback loop between actors and audience in film.
• In live theatre, reactions range from cheering to heckling to silence, all of which affect the performance in real time.

The Stage Space

• The expression that theatre needs a space to happen: "two boards and a passion" (the stage is the traditional board reference) but the concept expands to the entire performance space.
• Space configuration matters: how the audience and actors are positioned relative to each other influences the performance.
• Two broad categories of spaces where theatre happens:
  • Theatre Spaces: rooms or buildings specifically designed or permanently converted for theatre; include a stage, audience seating (the house), technical equipment (lights, sound), and backstage areas.
  • Found Spaces: places not designed as theatres that are temporarily converted for a performance (e.g., classrooms, warehouses, city parks).
• A Theatre Space typically has fixed elements: stage location and audience seating are relatively stable; backstage areas are designed for quick transitions.
• Black Box theatres:
  • A Black Box is a flexible, convertible Theatre Space with no fixed stage or seating; everything can be rearranged.
  • They are the most flexible type of Theatre Space and can be configured to suit the production, audience size, or creative concept.
• The design of a space (Theatre Space vs Found Space vs Black Box) shapes performance possibilities and audience experience.

Theatre Spaces, Black Boxes, and Found Spaces

• theatre space: a dedicated venue designed or permanently adapted for theatre; includes stage, audience seating, technical systems, backstage area.
• Black Box theatre:
  • A small, simple, highly flexible room where the arrangement of audience and stage is reconfigurable.
  • Not only for experimental work; any play can be produced in a Black Box.
• Found Space:
  • A location not originally intended for theatre, temporarily converted for a performance.
  • Examples: classroom, warehouse, city park, museum spaces, churches, etc.
  • Production challenges include configuring the space for set, lighting, sound, audience access, and safety.
  • After the show, the space typically must be restored to its original function; some productions may require turning the space on/off or reconfiguring nightly.

Found Spaces: Definition and Considerations

• Found Space characteristics:
  • Not designed as a theatre but adapted for performance.
  • The producers must decide how to create sets, lighting, sound, and allocate audience space within the existing environment.
  • Access control becomes important if the audience can physically observe the setup from outside or from public spaces.
  • There may be unique advantages to the space that enhance the production (e.g., natural acoustics, architecture, atmosphere).
• Practical considerations:
  • How to control audience access and traffic flow to prevent distractions and maintain focus.
  • How to manage noise and external interruptions (traffic, pedestrians).
  • How the space affects the audience’s perception and the overall aesthetic experience.
• Strategic example:
  • The Screwtape Letters could be presented in a traditional Theatre Space or in a church Found Space; the latter could produce a different effect by placing audience members in a real church pews, enhancing the atmosphere and impact.

Why Use Found Spaces?

• Found Spaces can offer cost advantages when a dedicated Theatre Space is unavailable or unaffordable.
• They can be found cheaply or even used for free, making productions possible with tighter budgets.
• However, Found Spaces require careful planning to address:
  • How to set up the space to meet the production’s needs (set, lighting, sound, audience flow).
  • How to restore the space to its original function after the performance ends, or how to switch it back and forth between uses if necessary.
• The space itself can contribute to the production’s meaning or emotional impact (e.g., performing a story about demons in a church setting to create a particular atmosphere).
• The choice between a traditional Theatre Space and Found Space influences the creative approach, costs, logistics, and audience experience.

The Practical and Philosophical Premises: Live Experience vs Streaming

• A central premise of the book/article: theatre must be experienced live and in person; human interaction is essential to theatre.
• While digital methods (Facetime, Zoom) can connect people, they do not fully replicate the theatrical experience of being physically present with others.
• Even live-streamed performances (performed in real time) are not considered the same as being physically together in a theatre.
• Historical context of live theatre and closures:
  • In Shakespeare’s England, theatres were often closed by government authorities during plague outbreaks.
  • In the 1640s, the English theatres were permanently closed for political/religious reasons and did not reopen until 1660.
  • In 2001, theatre activity paused in New York after 9/11; streaming and online access increasingly became options in later years.
• Modern innovations include streaming live performances, on-demand recordings, virtual reality, augmented reality, computer-generated imagery, predictive algorithms, and various smart technologies.
• The book asserts that, despite these technologies, theatre is fundamentally about live, in-person human interaction.

The Interaction: The Dynamic Between Actors and Audience

• The core of theatre is the dynamic interaction where actions and reactions shape the performance:
  • The actors perform, the audience reacts, and that reaction influences what the actors do next, which again influences the audience, creating a feedback loop.
  • If the audience did nothing, it would still be a factor; even silence or lack of response would affect the actors.
  • Small audience cues (a smile, a pause, a cry) can shape the emotional trajectory of the performance.
• The relationship between actors and audience is central to theatre; this relationship is not simply a backdrop but an active element of the art form.
• This interactivity distinguishes theatre from other forms of storytelling where the audience’s reactions do not alter the performance.

Real-World and Ethical Implications

• Live theatre’s value lies in human presence and shared experience; this has ethical/practical implications for accessibility, inclusion, and community engagement.
• Found Spaces can democratize access to theatre by repurposing venues already frequented by communities (though they may also raise concerns about safety, disruption, and cost of conversion/restoration).
• The choice of space can influence social meaning and audience reception (e.g., performing in a church may alter the interpretation of material).
• Streaming and online formats offer accessibility and reach but raise questions about preserving the intimate, live, communal aspect of theatre.

Summary of Key Concepts and Terminology

• Theatre requires live, in-person interaction between actors and audience; this interaction is a defining feature.
• Each live performance is unique due to human factors and real-time audience influence.
• The heart of theatre is the relationship and feedback loop between actors and audience.
• The space where theatre happens matters: space design affects performance and audience experience.
• Theatre Spaces: purpose-built venues with stages, seating, and tech; typically fixed in layout.
• Black Box theatres: flexible, reconfigurable spaces without fixed stage/seating; highly adaptable for any production.
• Found Spaces: non-traditional venues temporarily converted for performance; require careful planning for sets, lighting, sound, and audience access; restoration after use.
• Why Found Spaces: cost, accessibility, flexibility, and potential for unique atmospheres, as well as strategic pairing with specific productions.
• Live experience vs streaming: live theatre is about embodied presence and real-time interaction; streaming cannot fully replicate the live experience, though it offers alternatives for access.
• Historical context: theatre closures due to plague, political/religious reasons, and modern crises; evolution toward streaming and digital options, while emphasising the enduring value of live theatre.