This document discusses the role of objects in theatre and ways they can be presented to audiences. It describes using camera angles to focus on objects, integrating audiences with performance spaces, detaching objects as separate storytellers, creating performances in museum/exhibit spaces using context, and using artefacts to create fictional portraits. It also contrasts the experiences audiences have with objects in museums where exploration is self-directed versus in theatre where objects "come alive" through performer interaction and storytelling. An example is given of the National Railway Museum and York Theatre Royal combining these approaches.

1. 1. Role of the object as a
artefact in theatre
Semiotics can be defined as a science dedicated to the study
of the production of meaning in society. As such it is equally
concerned with processes of signification and with those of
communication, i.e., the means whereby meaning are both
generated and exchanged. Its objects are thus at once the
different sign- systems and codes at work in society and the
actual messages and texts produced thereby
(Elam, 1980)
from the performance “Lear Rehearsing Death” by Georg Genoux in the Meyerhold

2. 2. The methods of presenting
an object to the audience
- camera macro view point (cinematic approach to present objects)
- integrating the audience into the performance space (environmental
seating)
- detaching the objects as a separate story-teller from the performer
- creating a performance in museum/ exhibit space (using the context)
- creating a mocumentary portrait of a personage in fiction text by using
artefacts
- creating performance based on the physical qualities of objects (sound,
physics, texture)
An image from Fraulein Julie by Katie Mitchell at the Schaubeuhne Theatre

3. 3. Combining the museum and
theatrical audience object
exploration experience
MUSEUM
- self directed process of exploration
- self created temp of absorbing information
- opportunities of using using tactile sensors
- introduction to objects as documents (education)
THEATRE
- seeing the object “living” through the interaction with the performer
- creating a context for the object through storytelling
the National Railway Museum and York Theatre Royal

4. ARKADINA.
I smell sulphur. Is that done on purpose?
TREPLIEFF.
Yes.
ARKADINA. ‘
Oh, I see; that is part of the effect.
TREPLIEFF.
Mother!
The avenue is obstructed by a rough stage, temporarily erected for the
performance of amateur theatricals, and which screens the lake from view.
There is a dense growth of bushes to the left and right of the stage.
A few chairs and a little table are placed in front of the stage.
4. Anton Chekhov
The Seagull. The performance of Nina Zarechnaya