Project prep ppt

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Project prep ppt

  1. 1. Site-specific theatre  “Performing Site-Specific Theatre engages with theatre and performance that is grounded in an in-depth exploration and expression of spatial practice.”(Tompkins,2012)  Tompkins says there personal engagement started because they became “emerged from the editors‟ fascination with how different types of spatial arrangements affect our understanding of and relationships with performance” (Tompkins,2012)  “The form continues to provoke questions about what both performance and site convey” (Tompkins,2012)  “They rely, for their conception and their interpretation, upon the complex coexistence, superimposition and interpenetration of a number of narratives and architectures” (Tompkins,2012)
  2. 2. Space in performance  Space in performance is both physical and an imaginary context  Imaginary spaces: “Communities are largely regarded as a cultural resource for social space, […] as imaginary spaces, communities have the potential to mediate between the everyday […] narratives of the individuals and more formal and established structures of power.” (Govan, et al., 2007, p.76)  Theatre that is devised in community situations may be similarly concerned with the representation of memory, and participants are invited to recognize […] narratives have social, communication and historical significance as well as personal relevance. (Govan, et al., 2007, p.82)
  3. 3. Space in performance (cont.)  Physical performance space: found and authentic spaces; environmental theatre  “Some experiments in environmental theatre invited the audience to enter the performance space, and become cocreators of illusion; others transferred the performance from a theatre to an appropriate „authentic‟ found space, generating yet another level of pretense.” (Wiles in Govan, et al., 2007, p.107)  “environmental theatre works through creating a sense of „living in‟” (Govan, et al., 2007, p.114)
  4. 4. Working Men‟s Clubs  Working men‟s clubs originated in the 19th century and were especially popular in places such as the Midlands and the Welsh Valleys, areas that are mainly populated with working class families.  Used for recreational use and at first to help educate working men‟s families, they had a main room called „The Vault‟ and a second larger room called „The Entertainment Room‟.
  5. 5. Working Men‟s Clubs  Men would apply and purchase memberships for them and their families and in recent time Working Men‟s Clubs have seen a major decline in their memberships and a lot have therefore closed.  “The working men‟s club […] was to be a salvation of a class, a haven of sobriety, where working men could be weaned from the temptations of a public house” (Talor, J. P.1, 1972)
  6. 6. Cabaret: History
  7. 7. Cabaret: and Escapism  “In the 1870s and the early 1880s the politically minded working man found his natural habitat in the club […] their members can almost be seen to form a community within a community because so many aspects of working class life revolved round the club.” (Shipley, 1972)  “Sally represents the people who keep their eyes shut to changes in the world around them […] Cabaret as a cautionary morality play has tremendous resonance” (Miller,1996)
  8. 8. Cabaret: and Escapism cont.  Leave your troubles outside! So – life is disappointing? Forget it! We have no troubles here! Here life is beautiful… (Ebb, 1966)  “a show in which the story is secondary to a central message” (Miller, p.27, 1996)  “their members can almost be seen to form a community within a community because so many aspects of working class life revolved round the club.” (Shipley, p.21, 1972)
  9. 9. Production concepts  The characters as white British males and females. “There was a time when everyone always played the emcee like Joel Grey. Now everyone always plays it like Alan Cumming” (Silverber in Filichia, 2007)  Sound/acoustics in the performance space  Moving the audience  Light and dark symbolism + the use of lighting design  Choreography + limitations within the space
  10. 10. Bibliography Govan, E., Nicholson. H., & Normington, K. (2007). Making a Performance: Devising Histories and Contemporary Practices. New York, USA: Routlege.

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