A Guide to Studying the Relationship Between Engineering and Theatre

by Debra Bruch


Home

The Experience of Theatre

How Theatre Happens

Directing Theatre

The Relationship Between Engineering and Audience

-- Introduction

-- The Space

-- Technical Conditions

-- Climate Conditions

-- Safety

-- Theatrical Conventions

-- Performance Conventions

-- Style Conventions

-- Creativity

The Space

The physical size and position of the audience.

Is the audience seated or standing?

Is the audience moving?

In what direction does the audience focus?

What is the distance between audience and performance area?

Does the audience enter the performance area?


What is the Distance Between Audience and Performance Area?


Physical distance impacts the audience and sets up a particular relationship between performance and patron. Modern audiences crave intimacy, and many theatre artists/engineers have realized intimacy as a closeness of physical space. The physical distance between audience and performance is as small as possible. To realize a physical closeness of intimacy, theatre architects created the environmental or black box theatre structure. Audiences then enjoyed a different, a close, experience when attending a theatre production in a black box theatre as opposed to a fan-shaped auditorium of a proscenium type of theatre structure. Such a venue supposedly offers a more intense experience than if the physical distance was significant.

Besides physical distance, theatre artists/engineers attempt to manipulate psychological distance, sometimes in a space that creates obstacles to psychological closeness. A proscenium type of theatre architecture actually distances the patron because of a "picture frame" effect of the proscenium arch. The patron seems to be looking at a moving picture, something that is seen and heard but not a part of a living experience of the moment. The patron does not forget that he or she is in the theatre. Wagner's Opera House in Bayreuth not only has a proscenium arch, but several arches marching through the house. The patron "feels" each frame as each arch seems like a barrier between patron and performance.

Other barriers besides the proscenium arch that help create psychological distance are a pit, posts, poor sightlines, architectural features in the house such as Bayreuth's vomitoria, aisles (especially transverse aisles), and even heads of audience members. One of the most prevalent barriers creating psychological distance that has cropped up in modern theatres is the sound control system that resides in the house. Sometimes watching the sound engineer is more entertaining than watching the performance!

A goal to achieve experience is to melt all physical and psychological barriers. Focus creates an intensity within the patron that seems to break distance barriers. The closer the audience physically is to the performance and the more intense audience focus, the more intimate the experience. The patron is engaged.


© Debra Bruch 2005