Spacespeare
Thursday, April 3rd by scott malia
In other MacNews, Orlando Shakespeare is changing the shape of its theatre to accommodate its new production of Macbeth. According to an article about the production, the space was designed so that its traditional proscenium setup could be converted to a theatre-in-the-round model. The unusual thing is, in its first seven years, they have never made the conversion….until now. Apparently, this Macbeth necessitated an arena set-up for its decidedly unique take on the play.
What stood out to me in this piece was the question of how the plays change depending on the space in which they are presented. In his own time, The Bard’s works were performed in a kind of three-quarter thrust stage with a tiring house in back of it for entrances, exits and balcony scenes. Obviously, we have more variety in the twenty-first century in deciding how to stage the plays, but what is the best option? Is there an ideal format for each play, or do the plays simply become something different when they are placed in a different relationship to the audience? Are proscenium productions capable of a grander scale at the expense of audience intimacy? Do arena productions lose some of their majesty because of the necessary scenic compromises?
Most importantly, what happens when the space is used to play against the text? Is it possible to stage a large, gothic Macbeth in a small space to increase the audience’s sense of unease? Orlando Shakespeare is gambling that it can do just that.
April 5th, 2008 at 2:02 pm
Are proscenium productions capable of a grander scale at the expense of audience intimacy? Yes. Do arena productions lose some of their majesty because of the necessary scenic compromises? Yes. But who says visual majesty is necessary? Large sets don’t make a great production. I don’t think there is an ideal format for each play - the possibilities for productions’ concepts and the way in which they are staged are endless. Each have their advantages and disadvantages.
My preference - in general - not to have a huge house and the players all behind a procenium that is far away from the audience. Shakespeare’s characters often speak TO the audience. I like when there’s potential for audience participation. “He that knows better how to tame a shrew, / Now let him speak.” That can’t be acted to the air! It’s to the audience. In Shakespeare’s day they were right next to the stage. It’s not essential today, but it sure engages the audience when it’s done well.
April 6th, 2008 at 5:54 pm
I love that Gedaly used that quote from “Shrew” above - I’ve already pictured my Petruchio giving that line, and I know exactly where I want him on both of the stages that we’re using - downstage center, speaking right to the audience. The stage at the park will be less intimate, but the inside venue we’re using for our afternoon matinee will have Petruchio right there, only about a foot away from the front row. It’s going to be awesome!