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© OCR 2016 H070 Topic Title H470 Topic Title Staging: All the world’s a stage

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Page 1: Staging: All the world’s a stage H070 Topic TitleH470 ...fluencycontent2-schoolwebsite.netdna-ssl.com/File...with the audience in mind – good plot and spike during tech rehearsal

© OCR 2016

H070 Topic TitleH470 Topic Title

Staging: All the

world’s a stage

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© OCR 2016

Staging‘All the world’s a stage’

When designing a stage you have to remember the ‘actor-audience’ relationship

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© OCR 2016

Amphitheatre

When designing a stage you have to remember the ‘actor-audience’ relationship

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© OCR 2016

When designing a stage you have to remember the ‘actor-audience’ relationship

Amphitheatre

Also known as ‘Arena’.

Large performance space.

Audience in Semi-Circle with tiered seating.

Ancient Greek form of staging that started in the

5thCentury BC then became Roman also.

FACT: The biggest Amphitheatre is in Athens and

seats 15,000 which is the same as a

Championship football ground!

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© OCR 2016

• Great for outdoors.

• Great for musicals/rock concerts.

• Great for large casts and ‘epic’ performances.

• Great for large scenery, some lighting, sound and special effects.

• Great for a football crowd feel!

• Hard to create a bond between the audience because of the distance.

• Outdoor staging – you have to rely on weather.

• Acoustics can cause difficulties.

• Lighting complications.

Advantages and Disadvantages

When designing a stage you have to remember the ‘actor-audience’ relationship

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© OCR 2016

When designing a stage you have to remember the ‘actor-audience’ relationship

Thrust Theatre

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© OCR 2016

Thrust Theatre

A stage with audience on 3 sides.

Derived from the era Shakespeare during

Elizabethan and Jacobean periods.

Where social & economic division started in

theatre – Galleries were where wealthy people

sat showing there high status.

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© OCR 2016

• Great for large scale productions. The Globe theatre

• More intimate as actors are closer to the audience and surrounded by them.

• Large items of set are able to be used upstage without interfering with ‘sightlines’

• Most plays work well in this staging.

• Props/furniture cause sightline problems, blocking needs to be precise ‘spiking’ is essential during the tech. Props plot is also essential.

• Actors have to relate to 3 sides

to get interaction.

• Lighting plot needs to be more

complex.

• Entrances/Exits/Wings need to

be thought out because of

sightlines

• The stage floor is a vital part of

the set design because of the

audience seating.

• Scene changes have to be done

in front of the audience.

Advantages and Disadvantages

When designing a stage you have to remember the ‘actor-audience’ relationship

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© OCR 2016

Proscenium Arch

When designing a stage you have to remember the ‘actor-audience’ relationship

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© OCR 2016

Proscenium Arch

When designing a stage you have to remember the ‘actor-audience’ relationship

In the late 17th Century until early 20th Century it

became the standard form of staging for most theatres

in Britain.

In the west end and older regional theatre the theatres

retain their ‘dividing line’.

Arch is built to accommodate the ‘curtain’.

‘Picture Frame’ effect for audience – with single view

like television viewing.

Audience or the stage is always raked.

Old days the curtain was always dropped for scene

changes but rarely in modern theatre.

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© OCR 2016

• Audiences are comfortable as

this is the most familiar

staging.

• Sense of ‘us’ and ‘them’

creates realism.

• Realistic sets easy to create –

the 4th wall is removed the

illusion of reality is created.

• Blocking is easier with

entrances and exits.

• Technical effects are easier to

achieve.

• Most types and scales of

performance can be

successful.

• Difficult for an audience to

become heavily involved.

• Realism can be hard to create as

they have a fourth wall. Blocking

needs to ensure it isn’t too linear

in performance and no one has

there back to the audience.

• Furniture needs to be placed

with the audience in mind –

good plot and spike during tech

rehearsal. ‘Sightlines’.

• Blocking needs to be natural but

ensuring that the audience can

see all that is going on. Example

of the family dinner table.

Advantages and Disadvantages

When designing a stage you have to remember the ‘actor-audience’ relationship

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© OCR 2016

In the round

When designing a stage you have to remember the ‘actor-audience’ relationship

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© OCR 2016

In the round

Means…’The audience surrounds the stage’.

Doesn’t necessarily need to be ‘round’ but audience

need to be all the way around the performing area to be

in the round.

The stage is at floor level with raked audience all the

way around – similar to amphitheatre but all four sides

not semi-circular.

Few theatres with main houses that are designed for ‘in

the round’ performances – but some can adapt.

Most studio theatres are designed to be able to adapt to

an ‘in the round’ performance.

When designing a stage you have to remember the ‘actor-audience’ relationship

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© OCR 2016

When designing a stage you have to remember the ‘actor-audience’ relationship

Advantages and Disadvantages• Audience – actor bond is strong

and intimate because the actors

are close to the audience.

• Impossible to have a realistic

set in the round – enhances

imagination watching. Audience

has to create a sense of

environment themselves.

• Naturalistic performance – as

you’ll have your back to

someone at some stage.

• Scene changes can happen as

part of the performance – by

cast or stage management in

costume.

• Similar to thrust issues but even

more so!

• Unless you can raise the audience

you will struggle with sightline

problems.

• Realism can’t be used with this

set.

• Harder restrictions for designers

of set, lighting & sound.

Restrictions on placing furniture

and focus of lights.

• Blocking has to be highly accurate

because of performing to 4 sides.

• Actors can be subtle – having

audience all around.

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© OCR 2016

Traverse Stage

When designing a stage you have to remember the ‘actor-audience’ relationship

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© OCR 2016

Traverse Stage

Also so known as ‘Theatre in the Corridor’

It’s a corridor between two blocks of

audience.

It’s a very uncommon type of stage form.

Few theatres are built to accommodate this

exclusively.

Traverse theatre Edinburgh, although its

retained it’s name it how has a new building

and stages in other forms.

When designing a stage you have to remember the ‘actor-audience’ relationship

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© OCR 2016

Advantages and Disadvantages• Audience uses imagination due

to set restrictions like ‘in the round’.

• Use doors/walls to create a corridor feel with interfering with sightlines.

• Simple form to create in a studio theatre.

• Good staging for small audiences.

• Scene changes have to be carried out in full view of the audience.

• Good for enabling use of movement – causing swift changes of location in a fast paced play.

• Suitable only for a relatively small

audience – although there are

exceptions.

• Audience ideally needs to be

raked in tiers like a catwalk –

which can be hard to create.

• Using each extreme end of the

stage can create problems for

audience sightlines and can cause

a Wimbledon effect for the

audience which is wearing.

• During scene changes, blocking

usually means one set of actors

has to exit one end & the new

cast/new scene comes on from the

other end to start.

When designing a stage you have to remember the ‘actor-audience’ relationship

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© OCR 2016

When designing a stage you have to remember the ‘actor-audience’ relationship

Promenade Theatre

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© OCR 2016

Promenade Theatre

Audience and performers occupy the same

space.

Audience follow the performers from one area

to the next.

Usually no seating

It’s a rare form of theatre that has developed

in the last 20 years.

Usually performed in large spaces although

‘fringe’ theatres use this effectively.

When designing a stage you have to remember the ‘actor-audience’ relationship

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© OCR 2016

Advantages and Disadvantages• Staged simply and cheaply

usually.

• Exciting form of staging that

has a real sense of community.

• Audience usually incorporated

into the performance.

• Lighting is used to point where

action is moving to.

• Difficult to rehearse with so much

audience participation.

• Audience may be hard to control –

may have to have an invited

audience to rehearsals.

• Lighting is complex because of

glare into the audience.

• Sound design is difficult placing

of speakers needs a lot of thought.

• H&S nightmare – trailing cables,

trips hazards etc.

• Shorter members of the audience

have to be thought of as they are

disadvantaged.

• Disabled audience members have

to be considered.

When designing a stage you have to remember the ‘actor-audience’ relationship

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© OCR 2016

Non Conventional Theatre

When designing a stage you have to remember the ‘actor-audience’ relationship

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© OCR 2016

When designing a stage you have to remember the ‘actor-audience’ relationship

Non Conventional Theatre

Have you heard of any of these or have you

maybe seen some of these?

Created in the late 20th/21st Century.

Interest has grown since the Edinburgh fringe

festival.

Locations that can be used: Car Park, Public

Toilet, Restaurant etc.

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© OCR 2016

When designing a stage you have to remember the ‘actor-audience’ relationship

Advantages and Disadvantages• Unusual and exciting.

• Unique theatre no two

performances will be

the same.

• Very site specific.

• Very imaginative.

• Public might not

appreciate it’s a

performance in public.

• Technical challenges if

you need to use them.

• Limited Audiences.

• Costume changes,

entrance and exit

problems.

Look around the school can you identify areas

where non-conventional theatre can take place?

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© OCR 2016

OCR Resources: the small printOCR’s resources are provided to support the teaching of OCR specifications, but in no way constitute an endorsed teaching method that is required by the Board, and the decision to use them lies with the individual teacher. Whilst every

effort is made to ensure the accuracy of the content, OCR cannot be held responsible for any errors or omissions within these resources.

© OCR 2016 - This resource may be freely copied and distributed, as long as the OCR logo and this message remain intact and OCR is acknowledged as the originator of this work.

OCR acknowledges the use of the following content: Slide 3 Ancient Greek Amphitheatre, Graeme Shannon/Shutterstock.com, Roman theatre, Morphart/Shutterstock.com: Minack Theatre, open air theatre by the sea,Nigel Hicks/ Dorling Kindersley / Universal Images Group/Britannica: Slide 6 The Globe Theatre, David Hughes / Robert Harding World Imagery / Universal Images Group/Britannica: Slide 8 Royal Opera House, The Granger Collection / Universal Images Group/Britannica; Interior view of San Carlo Theatre in Naples, De Agostini / L. Romano / Universal Images Group/Shutterstock.com: Slide 11Theatre in the Round, Tony Webster/Wikimedia Commons: Slide 14 Traverse Theatre, Wikimedia Commons: Slide 17 Street Theatre, Nivelles/Wikimedia Commons: Slide 21 Street theatre performance of Bobeche and Galimafre, c.1820, Musee de la Ville de Paris / Musee Carnavalet / Paris / France / Bridgeman Art Library / Universal Images Group/BritannicaPlease get in touch if you want to discuss the accessibility of resources we offer to support delivery of our qualifications: [email protected]