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
Introduction
Theatre Venues and Visualisation
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
Visualising Lost Theatres studies venues that have been ‘lost’, whether through demolition or substantial remodelling. Once a theatre building is lost, its theatrical, social, and cultural worlds fade. Some fragments may remain, but their capacity to tell the story of a venue’s role in performance is limited. In researching this book, we learned how venues are living systems rather than passive containers of performance, and that their contribution to the creation of live performance has been underestimated. We studied how the contours of theatre venues cultivated social cohesion within them and forged connections with the cultural and political worlds beyond. To recover what is lost when a venue is no longer in existence, we turned to three-dimensional (3D) visualisation technology to recreate the venue in virtual form, so that we can reactivate dynamic facets of its performance space. This volume thus explores the creative interactions that exist between architecture, artists, and audiences.
- Type
- Chapter
- Information
- Visualising Lost TheatresVirtual Praxis and the Recovery of Performance Spaces, pp. 1 - 14Publisher: Cambridge University PressPrint publication year: 2022