Young Sophisticate the Old Fashioned Way 1934
The story of theatre
The V&A'south Theatre and Performance collections chart the fascinating history of theatre in Britain from the middle ages to today. From early dramatic forms, such as mystery plays and courtroom masques, to the alternative and 'in yer face' drama of the late 20th century, via the patriotic wartime entertainment of the 1940s, and the foundation of institutions such as the Arts Council and the National Theatre.
Most early theatre in England evolved out of church services of the 10th and 11th centuries. It became a truly popular course effectually 1350 when religious leaders encouraged the staging of mystery cycles (stories from the Bible) and miracle plays (stories of the lives of saints). These were written and performed in the language of ordinary people rather than latin in order to teach the mainly illiterate masses about Christianity and the bible.
Each play was staged on pageant wagons that processed through the streets and stopped to perform at pre-arranged sites. Past the stop of medieval times, many towns had specific spaces dedicated to public theatre.
The rise of secular drama
Post-obit the Reformation in the 16th century – a motion that opposed the authority of the Roman Catholic Church building – all religious drama in England was suppressed. Licences were issued to theatre companies allowing them to rehearse and perform in public, providing they had the approval and patronage of a nobleman.
Britain's first playhouse 'The Theatre' was built in Finsbury Fields, London in 1576. It was constructed past Leicester's Men – an acting company formed in 1559 from members of the Earl of Leicester'due south household. Over the next 16 years, 17 new open-air, public theatres were synthetic. Most of these theatres were circular, surrounding an open up courtyard where members of the audience would stand around the three sides of the stage. New companies flourished and writers were expected to produce a number of new plays every yr to satisfy demand. Companies became known by the title of the patron's household. The two most famous companies and fierce rivals were the Admiral'south Men and the Lord Chamberlain's Men.
William Shakespeare (1564 – 1616)
William Shakespeare, born 1564 in Stratford-upon-Avon, Warwickshire, is England's most famous playwright. He wrote 38 plays and numerous sonnets. It is not just the breadth of his work that makes Shakespeare the greatest British dramatist only the beauty and inventiveness of his language and the universal nature of his writing.
In 1594 Shakespeare joined the Lord Chamberlain's Men as an actor and their primary playwright. He wrote on boilerplate two new plays a yr for the company. His earliest plays included The One-act of Errors (outset performed in 1594) and his showtime published work was the poem Venus and Adonis (1593). Shakespeare wrote many of his most famous plays for the Earth Theatre, which was erected in 1599 past the Lord Chamberlain'south Men. When the lease on the land at their playhouse, The Theatre, in Shoreditch ran out, the visitor decided to dismantle the timber frame edifice and rebuild it on the south bank of the River Thames, renaming it The Earth.
The court masque
The masque was a form of festive courtly entertainment that flourished in 16th- and early 17th-century Europe. The English architect and designer, Inigo Jones (1573 – 1652), collaborated with the playwright and poet Ben Jonson (1572 – 1637) to produce a serial of elaborate masques for both James I (reigned 1603 – 25) and Charles I (reigned 1625 – 49). One product, The Masque of Oberon (1611) price over £2,000 to stage, with costumes alone costing over £ane,000.
Inigo Jones is credited with introducing into British theatre the proscenium curvation – the infinite which framed the actors on stage – and moveable scenery arranged in perspective. Inspired past stage machinery he had seen whilst travelling in France and Italy, Jones' scenery used a series of shutters that slid in and out using grooves in the flooring. He fifty-fifty flew in scenery from above and introduced coloured lighting by placing candles behind tinted glass.
The closure of the theatres
In 1642 civil war broke out in England betwixt supporters of Rex Charles I and the Parliamentarians led by Oliver Cromwell. Theatres were closed to prevent public disorder and remained closed for 18 years, causing considerable hardship to professional person theatre performers, managers and writers. Illegal performances were only sporadic and many public theatres were demolished.
In 1656, the poet and playwright William Davenant succeeded in producing an all-sung version of the play The Siege of Rhodes in his dwelling house. This is widely considered to exist the first English opera. After Charles Ii was restored to the throne in 1660, Davenant and the dramatist Thomas Killigrew were granted royal patents, which gave them virtual monopoly over presenting drama in London. These monopolies were non revoked until the 19th century.
Restoration drama
The introduction of scenery and elaborate stage machinery to the English public stage in the 1660s gave ascent to blockbuster semi-operas. Many of these were adaptations of other plays, often by Shakespeare. These had episodes of music, singing, dancing and special effects. The grandest theatre at this time, which included one of the first proscenium arches, was The Knuckles's Theatre in Dorset Gardens. Planned by William Davenant and designed by Christopher Wren (architect of St Paul's Cathedral), it cost £ix,000 (about £600,000 today). It stood by the River Thames and steps led up from the river for those patrons arriving past boat.
For the first fourth dimension women were recognised every bit professional actresses and playwrights. The most famous playwright was Aphra Behn (1640 – 89), who had previously been employed as a spy for Charles II and spent a brief stay in a debtors' prison. A group of women writers known as 'The Female Wits' produced many works for the stage. They included Mary Pix (1666 – 1709), Catherine Trotter (1679 – 1749) and the prolific Susannah Centlivre (nigh 1670 – 1723), who wrote 19 plays, including the satirical A Bold Stroke for a Wife, showtime performed in 1718.
The commencement adult female to announced on the professional stage in England is by and large considered to be Margaret Hughes (1645 – 1719), who performed in a production of Othello at the Vere Street Theatre, London in 1660. Other notable actresses at this time included Elizabeth Barry (1658 – 1713) , also known as the "queen of tragedy", and Nell Gwyn (1650 – 87), who was reputed to accept been painted nude for Charles Ii and bore him two children.
18th-century theatre
The 18th century saw the flourishing of theatre every bit a popular pastime and many theatres were enlarged and new playhouses built in London and throughout the country. Ane of the most successful shows on the London stage in the early on office of the 18th century was John Gay's ballad opera The Beggar's Opera. Gay recycled popular songs of the solar day and wrote new lyrics that were humorous and satirical.
Shakespeare'southward plays became increasingly pop during the 18th century only were reworked to arrange the tastes of the day. His manner was still felt to exist likewise erratic and poets such as Alexander Pope advisedly tidied up any uneven poesy lines. Shakespeare's ending to King Lear was felt to exist also distressing and Nahum Tate's revised version (where Cordelia and the King survive) was preferred to the original. David Garrick rewrote the terminate of Romeo and Juliet so that the lovers speak to each other before dying in the tomb and turned the Taming of the Shrew into a farce.
David Garrick
Garrick was one of U.k.'s greatest actors and the first to be called a star. From 1741 until his retirement in 1776, he was a highly successful actor, producer and theatre manager. He wrote more than xx plays and adjusted many more than, including plays by Shakespeare. In 1742, the Theatre Regal, Drury Lane hired him and he began a triumphant career that would last for over thirty years. Inside 5 years, he was also managing the theatre.
Garrick changed the whole style of acting. He rejected the fashion for declamation, where actors would strike a pose and speak their lines formally, and instead preferred a more piece of cake, natural manner of speech and movement. The outcome was a more than subtle, less mannered mode of acting and a move towards realism.
Phase censorship
The Licensing Act of 1737 had a huge impact on the development of theatre in Britain. It restricted the production of plays to the ii patent theatres at Drury Lane and Covent Garden in London and tightened up the censorship of drama, stating that the Lord Chamberlain with his Examiners of Plays must vet any script earlier a performance was allowed.
The act was put in place by the and so Prime Minister Robert Walpole (1676 – 1745), who was concerned that political satire on the phase was undermining him and the authority of the government. A production of The Golden Rump, a farcical play of unknown authorship, was the primary trigger for Walpole pushing the case for banning obscene drama from the public arena. The play scandalously suggested that the Queen administered enemas to the King. Henry Fielding, author of a number of successful satires, and others were suspicious that this play had in fact been engineered by Walpole himself.
Early on Victorian drama
To become around the restrictions of the 1737 Licensing Human activity, not-patent theatres interspersed dramatic scenes with musical interludes. Melodrama and burlesque, with their short scenes and musical accompaniment, became extremely popular at this time. Somewhen, the huge growth in need for theatrical entertainment in the early 19th century made the patent theatres' system unworkable. Theatres had sprung up across London and the boundaries betwixt what was allowed in the patent theatres (legitimate drama) and what was presented in other theatres (illegitimate theatre) had become blurred. In 1843 the Licensing Human action was dropped, enabling other theatres to present drama, although Lord Chamberlain's censorship of plays remained in identify until 1968.
The Old Price Riots
After the Covent Garden theatre burnt down in 1808, the direction decided to heighten prices to cover the cost of rebuilding. To increase acquirement, the direction reconfigured the upper gallery to squeeze in more of the i shilling seats, creating what angry patrons described as 'pigeon holes'. The price for a seat in the pit was raised from 3 shilling and six pence to four shillings, and the admission to the public boxes went up from six to seven shillings. A whole tier of boxes became 'individual' and could only be hired for an entire season. Audiences were furious and turned their acrimony on the theatre's managing director, the actor John Philip Kemble.
On 18 September 1809 Kemble stepped on phase in the costume of Macbeth to welcome the audience to the first production in the new theatre, and was met with a avalanche of shouting, hissing and hooting which continued throughout the operation. Although magistrates were summoned, and some protesters arrested, the disturbance did not end until two in the morn. This was the showtime of what were known as the Old Cost (or O.P.) Riots. For the next ten weeks every operation at Covent Garden was disrupted. The master objective of the protesters was to forcefulness the direction to restore the sometime organization of pricing. By December 1809 the price of legal fees, wages for bouncers, and costless passes for allies who were paid to dirge "N.P." ( 'New prices') meant that the theatre was losing £300 per nighttime. Kemble accustomed the demands of the rioters and fabricated a public apology from the stage.
The Kemble family
At the turn of the 19th century the Kemble family dominated the London phase. Role player John Philip Kemble (1757 – 1823) was said to be the finest histrion in England and his sister, Sarah Siddons (1755 – 1831), was regarded as ane of the greatest ever tragedians. In her showtime season, she performed 80 times in seven different roles, inducing faintings and hysterics amongst her audiences. John Philip Kemble made his debut on the London stage in 1783 equally Hamlet. His interim style was static and declamatory, with long sweeping lines and a detached grandeur.
Edmund Kean
The popular histrion Edmund Kean (1787 – 1833) replaced Kemble as the darling of the London stage afterward making his Drury Lane debut as Shylock in The Merchant of Venice in 1814. Kean was one of the few actors who could fill the vast Drury Lane theatre to its chapters of three,000. His natural passion and peppery spirit suited a melodramatic style of interim. He was said to be at his all-time in death scenes and those that required intensity of feeling or violent transitions from ane mood to another.
Melodrama
Melodrama became popular from the 1780s and lasted until the early 20th century. The first drama in United kingdom to be labelled a melodrama was Thomas Holcroft's A Tale of Mystery (1802). Melodrama consisted of short scenes interspersed with musical accessory and was characterised by uncomplicated moral stories with stereotypical characters – at that place was always a villain, a wronged maiden and a hero acting in an overblown style.
Pictorial drama
From the middle of the 19th century theatre began to accept on a new respectability and depict in more middle-class audiences. They were enthralled by the historical accuracy and attention to detail that was condign increasingly influential in phase design. Pictorial drama placed groovy emphasis on costume and reflected a fashionable involvement in archaeology and history. The inevitable long and circuitous scene changes meant that plays, specially those by Shakespeare had to be cut. Ane of the main exponents of pictorial drama was Charles Kean (1811 – 68), son of Edmund Kean. Charles Kean was known for his painstaking research into celebrated dress and settings for his productions at the Princess's Theatre in London's Oxford Street during the 1850s.
Actor-managers
19th century theatre was dominated past actor-managers who ran the theatres and played the pb roles in productions. Henry Irving (1838 – 1905), Charles Kean and Beerbohm Tree (1852 – 1917) all created productions in which they were the star. Henry Irving dominated the London phase for over 25 years and was hero-worshipped by his audiences. When he died Rex Edward VII and the President of the The states sent their condolences.
Shakespeare was the most popular writer for these actor-managers. It became fashionable to give Shakespeare'due south plays detailed and historically realistic sets and costumes. The stage spectacle was often more important than the play itself and texts were cut to allow time to alter the massive sets and requite maximum exposure to the leading role.
The first woman actor-manager in London was Eliza Vestris (1797 – 1856), a vocalizer and dancer who also managed the Olympic Theatre from 1830. In that location she presented a program of Burlesques, many starring herself. Other women managers in the 19th century included Madge Kendal (1848 – 1935) and Sarah Lane (most 1822 – 99) at the Brittania Theatre, Hoxton.
Ellen Terry
The greatest English actress of the tardily 19th and early 20th century was Ellen Terry (1847 – 1928). She joined the legendary histrion-manager Henry Irving at the Lyceum Theatre from 1878 to 190 as his leading lady, and for more than the next two decades she was considered the leading Shakespearean and comic actress in Britain. Ii of her most famous roles were Portia in The Merchant of Venice (1875) and Beatrice in Much Ado Almost Nothing (1882). In 1903 Terry took over management of London's Majestic Theatre where she focused on the plays of Bernard Shaw and Henrik Ibsen. However fiscal failure meant she returned to acting there years afterward.
The V&A holds The Ellen Terry Collection, which contains a vast quantity of correspondence, including letters written by Terry to her daughter, costume designer Edith Craig, and messages written from her phase co-star Henry Irving. The archive also contains a notebook of Terry's thoughts on Irving.
19th century spectacle
The sophisticated engineering and machinery of the tardily 19th century stage produced a succession of 'sensation' dramas in which special effects became the principal attraction. Scene painters, working with expert technicians, produced realistic reproductions of the natural world. Using ropes, flats, bridges, treadmills and revolves, they could produce anything from a chariot race in Ben Hur to a rail crash in The Whip.
I of the greatest designers of 'awareness' scenes was Bruce 'Sensation' Smith. He worked at Drury Lane Theatre, which became the acknowledged dwelling of such drama post-obit the introduction of hydraulic stage machinery at the theatre in 1894.
Cup and saucer drama
The playwright Tom William Robertson (1829 – 71) introduced a new kind of play onto the 19th century theatre scene. His pioneering 'trouble plays' dealt with serious and sensitive problems of the day. Robertson's work was considered then revolutionary in manner and bailiwick that no established direction would produce his plays. "Danger", said Effie Bancroft, "is improve than dullness" and she went on to produce a string of successful and profitable hits past Robertson, such as Ours (1866), Degree (1867), Play (1868) and School (1869). Caste was almost marriage across the class barrier and explored prejudices towards social mobility. People talked in normal language and dealt with 'ordinary' situations and the performers didn't 'human activity' but 'behaved' like their audience – they spoke, they didn't declaim.
New drama in the early 20th century
The turn of the 20th century saw the emergence of two dominate trends in theatre: the dramatisation of contemporary, moral and social issues, and an involvement in a simpler and more than abstract staging of plays. Innovative work from abroad, particularly playwrights such as Henrik Ibsen and Anton Chekhov, was as well influential in the shaping of this new drama.
Political theatre
Harley Granville-Barker's management of the Royal Courtroom between 1903 and 1907 saw the popularisation of the piece of work of George Bernard Shaw. Bernard Shaw was one of the most successful writers of the early 20th century and an outspoken member of the Fabian Club, an organisation committed to social reform and considered by many at the fourth dimension to be subversive. He challenged the morality of his conservative audiences with his satirical and often humorous writing that included uncomfortable topics such as religion and prostitution. Many of his plays were censored by the Lord Chamberlain, including Mrs Warren's Profession (1893, first public performance in England 1925), which centred on a quondam prostitute and her try to come to terms with her disapproving daughter.
At a more grass roots level, theatre groups aimed at promoting the socialist crusade and the Labour Party sprang up across the state.
Between 1926 and 1935 the Workers' Theatre Motility (WTM), which was allied with the Communists, used theatre to agitate for social alter. WTM adult an 'agit-prop' style that took songs and sketches onto the streets in an attempt to incite change.
Unity Theatre grew out of the WTM. It's aim was 'to foster and further the art of drama in accord with the principle that true art, by finer presenting and truthfully interpreting life as experienced past the majority of people, can move the people to work for the betterment of society'. Unity pioneered new forms of theatre, presenting factual information on current events to audiences, besides equally satirical pantomimes that challenged the Lord Chamberlain'due south censorship.
Other influential political companies included the Salford-based Red Megaphones and the Hackney People's Players. Committed to removing the bourgeois trappings of theatre, they wanted to create a more physical theatre that reflected the machine age. Pop plays were Ernst Toller'due south Masses and Men (1923)and The Motorcar Wreckers (1922) and Karel Capek's futuristic nightmare RUR (1920) where machines and robots are used to replace the working class.
Founded in 1908, the Actresses' Franchise League supported the suffrage movement by staging events and readings. Past 1914, membership numbered 900 and there were groups in all major UK cities. Plays included Cecily Hamilton and Christopher St John's How the Vote Was Won (1909), and Hamilton's most famous work Diana of Dobson's (1908).
The Pioneer Players was founded by Edith Craig, daughter of Ellen Terry, the renowned English actress of the belatedly 19th and early 20th centuries. The company aimed to nowadays plays of 'interest and ideas' and particularly those which dealt with current social, political and moral problems, including suffrage. The Pioneer Players performed at the Trivial Theatre which operated as a lodge theatre to avoid the censorship of the Lord Chamberlain. Productions included Margaret Wynn Nevinson'southward In the Workhouse (1911) and Christopher St John's The First Actress (1911).
The repertory movement
The repertory theatre movement was forged out of the passion and conviction of Barry Jackson and Annie Horniman, who believed that a wide multifariousness of theatrical experience should be fabricated available to people at a price they could afford. Horniman believed that by subsidising theatres you could both raise the standards of performance and broaden the programme a theatre could offering to its community.
Horniman was the daughter of a wealthy tea merchant with no family connections to the theatre merely she recognised the cultural value of the land-subsidised repertory companies in Germany. In 1903, Horniman put upward the money to open up the Abbey Theatre in Dublin and the Gaiety Theatre in Manchester in 1907. In only 10 years they produced over 200 plays at the Gaiety but were forced to close in 1917 because of financial difficulties.
Birmingham Repertory Theatre opened on fifteen February 1913 with a production of Shakespeare'due south Twelfth Dark. Its founder Barry Jackson, like Horniman, was passionate almost the need to offer the people of Birmingham a broad diverseness of theatrical experience, and personally subsidised the building of the Rep Theatre as a base for his company.
Club Theatres in the early on 20th century
In 1899 the Phase Order was founded with the aim of supporting a theatre of ideas. Frustrated with the conservative nature of more commercial theatres, it presented private Sun performances of experimental plays that had not been granted licences by the Lord Chamberlain. After a constabulary raid on their first product (Bernard Shaw's Yous Never Can Tell) it was argued that considering these were private performances, the Lord Chamberlain'southward restrictions on Sun performances and licensed plays were non applicable. The Phase Society won the case and other 'guild' theatres opened with members paying a small subscription rather than an entrance fee. These theatres became the dwelling house of unlicensed, experimental and controversial plays – a situation that lasted until 1968 when censorship was finally overturned.
The Arts Theatre opened as a club theatre in 1927 and chop-chop adult a reputation for innovative and exciting work. Plays by French and German writers such as Racine and Goethe were staged at that place, as well equally new writing from British playwrights. Actors such equally John Gielgud and Sybil Thorndike worked at the Arts Theatre fifty-fifty when they were well known in the West End – such was their commitment to presenting more experimental work.
West Terminate theatre between the wars
West Terminate theatre betwixt the wars was a strange mixture. For the most part theatres were impoverished by the Depression and remained conservative both in the content of their work and the staging.
The plays of George Bernard Shaw, Somerset Maugham, Terence Rattigan, Noël Coward and J B Priestley dominated the scene. Whilst Priestley and Shaw had a stiff left-wing calendar, the plays were essentially conservative in form. Shakespeare's plays virtually vanished from the West Finish. His domicile now was the Old Vic Theatre and the regional repertory theatres which experimented with contemporary wearing apparel productions. It was John Gielgud who brought Shakespeare back to the West Finish in 1935 with his productions of Romeo and Juliet, Richard Iii and The Merchant of Venice.
Commercial theatre thrived and at Drury Lane large budget musicals past Ivor Novello and Noël Coward used huge sets, extravagant costumes and big casts to create spectacular productions. Coward'south Cavalcade (first product in 1931) was an epic play which traced the history of the early years of the 20th century through the lives of one family. Coward remained 1 of the pop writers of this period with comedies such every bit The Vortex (1924), Fallen Angels (1925) and Present Laughter (1942).
The Second World State of war saw a surge of interest in the arts with many noncombatant and armed services audiences experiencing drama, opera and ballet for the first time. This interest led to the establishment of the Arts Council by the authorities in 1946 with an almanac grant to distribute among the arts. This grant ensured the survival of companies similar the Sadler's Wells Ballet and Opera and the eventual establishment of the Royal Opera, the Royal Shakespeare Company and the National Theatre, too equally supporting theatre in the regions and the piece of work of private artists and companies. By 1956 the Arts Council was subsidising 40 companies beyond the land and between 1958 and 1970 15 new theatres had been constructed with public money.
Mail service-war West End theatre
Afterward the stop of the Second World War, the West End was dominated by the commercial sector. Farces and 'who-dunnits' became popular, the virtually famous being The Mousetrap, an adaptation of an Agatha Christie novel that opened in 1952 and is still going today. The glamorous productions of the 1950s, produced by Binkie Beaumont and H K Tennent, soon became economically unviable. Actors moved into TV to make more than money and West Finish productions shrank in size.
This period also saw an explosion of new writing with John Osborne's Await Back in Anger (1956) seen as the landmark for a new generation of immature writers who included Arnold Wesker, Tom Stoppard, Edward Bond and Harold Pinter. Pocket-size venues continued to promote and support new writing every bit more experimental productions moved into the mainstream theatres, including George Devine's Imperial Courtroom. The phrase 'In yer face theatre' has been applied to many of the immature writers who were produced past the Royal Court in the 1990s. This aggressive and confrontational style was designed to attack the audience's sensibilities. Information technology explored the gut-wrenching extremes of the human condition and rammed the excesses of gimmicky society downwardly its throat. 1 of the almost successful 'In yer face' productions was Marking Ravenhill'due south Shopping and Fucking, which opened at the Royal Court in 1996. "A shocker in every sense of the discussion", declared The Daily Postal service.
The National Theatre Visitor was formed in 1963 at the Old Vic under Laurence Olivier and moved to its new home on London'south S Depository financial institution in 1976, directed past Peter Hall. Peter Hall had also directed the beginning years of the Royal Shakespeare Company at Stratford-upon-Avon.
Political theatre also flourished at this time – notably the work of Joan Littlewood and the Portable Theatre Visitor, who produced young political writers such as John McGrath, David Edgar, Trevor Griffiths, David Hare and Howard Brenton. The company Articulation Stock pioneered a process of collaborative working, with writers workshopping their ideas with the visitor to develop a script. Joint Stock was responsible for developing many of Caryl Churchill's early plays.
Alternative Theatre
The cease of theatre censorship in 1968 saw a surge in the culling theatre movement in Britain. No longer restricted by the Lord Chamberlain's censorious eye, companies were complimentary to express any agenda they chose. Feminist theatre companies like Blood-red Ladder and the Women'due south Theatre Group (now the Sphinx) began to put on plays that expressed the political agenda of the feminist movement and questioned the male dominance of writers and directors in British theatre. Women writers like Caryl Churchill and Pam Gems wrote for companies like Joint Stock before moving onto success in mainstream theatre.
Companies likewise explored new ways of creating theatre, devising work which aimed to be more than democratic by involving the whole company in all aspects of the creative process from initial concept to final performances.
In the funding crisis of the 1980s many 'alternative' companies had their (meagre) subsidy cutting and could no longer afford to continue. However, others successfully adult into the mainstream like Hull Truck and Mike Leigh who later moved successfully into film and television.
Physical and visual theatre
Throughout the 1980s and 90s companies began to experiment with a more concrete blazon of theatre. They wanted to become away from the restraints of realistic and naturalistic drama and create an energetic visual theatre that combined strong design with choreography and concrete imagery. Influenced by the piece of work of Philippe Gaulier and Jacques Lecoq, companies such every bit Theatre de Complicite practical their style to the reworking of classic texts and created new work in collaboration with writers.
This departure was not completely new – in the 1960s Peter Brook had become interested in a more physical and visual theatre. He had been inspired by Japanese Noh theatre and influenced by the work of Adrienne Mnouchkine's Theatre du Soleil in Paris. Earlier innovators in this expanse included Bauhaus, Dadaist and surrealist performers, choreographer Rudolf Laban and directors Meyerhold and Jerzy Grotowski and Richard Schechozer.
Today, theatre companies and groups are producing e'er-more experimental works that explore social and political questions and challenge conventions of what a performance is and how it should be presented.
Nail Theory describe their work equally collaborative and interdisciplinary. Works such equally Can You Run across Me At present? (2001) – a chase game played online and on the streets mixed video games and functioning, whilst I'd Hide Y'all (2012), My Neck Of The Wood (2013) and Too Much Information (2015) engaged diverse audiences through different media. Similarily, Punchdrunk, a British theatre company, produces work that eliminates the boundaries between stage and audience by creating immersive presentations in which the audience is free to choose what to spotter and where to go.
The National Video Archive of Performance
The Five&A holds the National Video Archive of Performance (NVAP), archive of over 300 high quality live theatre performance recordings made since 1992. This unique collection is available for gratuitous to all whether you are a researcher, an actor preparing for an audition, a stage designer reviewing past interpretations, or someone who missed the opportunity to attend a product during its run.
Theatre & Performance
Explore
0 Response to "Young Sophisticate the Old Fashioned Way 1934"
Post a Comment