Book contents
- Visualising Lost Theatres
- Cambridge Studies in Modern Theatre
- Visualising Lost Theatres
- Copyright page
- Contents
- Figures
- Acknowledgements
- Introduction
- 1 The Rose Theatre, London, and Stage Movement in Marlowe’s Doctor Faustus
- 2 Komediehuset, Bergen, and Henrik Ibsen’s Stagecraft in His First Theatre
- 3 A Colonial Audience Watching Othello at the Queen’s Theatre, Adelaide
- 4 Cantonese Opera and the Layering of Space on the Australian Goldfields
- 5 The Design of Attraction at the Stardust Showroom in Las Vegas
- Conclusion: Visualising the Future of Theatre Research
- Appendix: The Eighteen Scripts of the Underworld
- References
- Index
Conclusion: Visualising the Future of Theatre Research
Published online by Cambridge University Press: 18 August 2022
- Visualising Lost Theatres
- Cambridge Studies in Modern Theatre
- Visualising Lost Theatres
- Copyright page
- Contents
- Figures
- Acknowledgements
- Introduction
- 1 The Rose Theatre, London, and Stage Movement in Marlowe’s Doctor Faustus
- 2 Komediehuset, Bergen, and Henrik Ibsen’s Stagecraft in His First Theatre
- 3 A Colonial Audience Watching Othello at the Queen’s Theatre, Adelaide
- 4 Cantonese Opera and the Layering of Space on the Australian Goldfields
- 5 The Design of Attraction at the Stardust Showroom in Las Vegas
- Conclusion: Visualising the Future of Theatre Research
- Appendix: The Eighteen Scripts of the Underworld
- References
- Index
Summary
This book has argued the place of the venue as an active participant in the creative process of making performance. It has achieved this by reinvigorating selected lost venues and activating them with the help of performers and researchers. The use of visualisation as a methodology in performance research has strengthened our ability to explore lost venues and to explain their significance, as well as allowing us to chart the flows of theatre through time. While our emphasis has been on theatre history, focusing on venues can have an impact on performance-making and analysis now. This brief conclusion reviews the centrality of the venue as an object of study and then offers some considerations for using visualisation in theatre research.
This book has argued the place of the venue as an active participant in the creative process of making performance. It has achieved this by reinvigorating selected lost venues and activating them with the help of performers and researchers.
- Type
- Chapter
- Information
- Visualising Lost TheatresVirtual Praxis and the Recovery of Performance Spaces, pp. 160 - 167Publisher: Cambridge University PressPrint publication year: 2022