SPACE IN
PERFORMANCE
WEEK 1 TUTORIAL
Acknowledgement of Country
■ We acknowledge that we study and work on the unceded
lands of the Boonwurrung people of the Kulin nations who
have been custodians of these lands for centuries. We are
privileged to share the lands which have witnessed creative
and ritual practice for so long.
■ We offer our deep appreciation for their contribution to, and
support of, our artistic and academic enterprise.
■ We pay our respects to Elders past, present and emerging
For the zoomers - a few protocols before we
start:
■ Turn your video on. We want to see you If we can’t see you, your teacher and your classmates may not be
aware that you are present.
■ You are a participant. Interject your voice into the conversation just as if you were in the on-campus
classroom.
■ Come to class prepared. Make sure you’ve watched the weekly lecture and any Zoom prep assignments
that will prepare us all for meaningful conversations.
■ No attendance while operating a motor vehicle!
■ Use a device that allows you to collaborate. Try to work at a screen that allows you to see everyone well.
Mobile devices, like iPads, have some limitations, so your best bet is to use a laptop or desktop. A phone
will work as a backup but should not be your primary device.
■ Use Chat as a learning backchannel. There is to everyone mode and private (to individual) mode in chat.
Share ideas, ask for tech support, but keep the conversation on topic to the course.
■ It might help to have a pen and paper next to you – to make some notes or even prompts if you get asked
a question
■ Keep you microphone muted unless you want to ask a question
■ You can put up your hand by waving – that’s why we like the video on, and that’s how you can get our
attention to ask a question
Roll Call
Please note – you must only attend the tutorial group you have registered for. If you are
in the wrong tutorial group you will be marked absent. If you need to change groups you
will need to fill in a Timetable Assistance Form (TAF) – a link can be found here
Introductions:
Who is your teacher?
go around the room and you can introduce
yourself -
GLOSSARY OF TERMS:
■ This list of theatre terms will be added to week-by-week, as we
introduce new words and concepts during the lectures and tutorials.
The definitions are largely taken from the following invaluable website:
■ http://www.theatrecrafts.com/pages/home/glossary-of-technical-
theatre-terms/
■ (Where they do not have a definition for one of the terms, we have
added our own and marked them with*).
■ Please use this glossary to assist with all assessment tasks, as
correct use of terminology is an assessment criteria.
GLOSSARY OF TERMS:
■ Orchestra
GLOSSARY OF TERMS:
■ Orchestra
1) In Greek Theatres, the central performance area used by the Chorus or for dancing.
2) Refers to the main seating area of the auditorium at floor level.
3) Colloquially known as 'the band' the musicians who perform from the orchestra PIT.
GLOSSARY OF TERMS:
■ Amphitheatre
GLOSSARY OF TERMS:
■ Amphitheatre
Circular or oval open-air theatre with a large raked seating area (often semi-circular)
sloping down to the stage. Originates from ancient Rome where vast amphitheatres
were built for spectator sports and games.
The Amphitheatre at Pompeii, Italy
GLOSSARY OF TERMS:
■ Skene
GLOSSARY OF TERMS:
■ Skene
Greek word (skēnē pronounced skay-nay) referring to the area at the rear of the acting
area in an ancient performance space. The skēnē was originally a building or tent, but
was sometimes painted onto scenery.
The Stage of the Roman Theatre in Jerash, Jordan with an elaborate and architectural Skene
GLOSSARY OF TERMS:
■ Sightlines
GLOSSARY OF TERMS:
■ Sightlines
A series of lines drawn on plan and section to show how much of the stage can be seen
by the extreme seating positions in the auditorium. Often marked in the wings as a
guide to the actors and crew to stay out of view.
GLOSSARY OF TERMS:
■ Vomitory
GLOSSARY OF TERMS:
■ Vomitory
An auditorium entrance or exit up through banked seating from below. Often
abbreviated to Vom.
From the Latin VOMITORIUM (plural VOMITORIA), which was an architectural feature of
Roman coliseums etc. Many vomitoria were used to enable the coliseum to be emptied
of people very quickly, safely and efficiently.
GLOSSARY OF TERMS:
■ House Curtain
GLOSSARY OF TERMS:
■ House Curtain
Same as HOUSE TABS. The house curtain is the main set of curtains ('tabs') in the
venue. Not every show will use the tabs, but it's often nice to save the audiences' first
view of the set for a special moment as the show starts, not as 'wallpaper' while they're
coming into the auditorium. However, this entirely depends on the nature of the show.
Known as GRAND CURTAIN in the US. See also TAB WARMERS.
PROJECT ONE – Analysis of a
Performance Space 1
Task Details:
Purpose:
To consider the choices made by a designer and director in their approach to a play in a particular theatre
space and to consider how the space has influenced the design decisions
Task length:
Lecture and Tutorial time and independent study over 4 weeks.
Weighting:
1000 words, 25% of subject grade
Due:
Friday 25.03 before 11:59 pm on Canvas
(A penalty of 10% per working day will be applied for every day after the due date.)
PROJECT ONE – Analysis of a
Performance Space 1
Submission:
Written Response - A written response to the task described below. We want you
to think about what the play is trying to say and how the qualities of the performance
space have been used to convey those ideas. (approx. 1000 words).
A Draft Plan of the Set in the Space - As part of the project we are asking you to draw a
speculative floorplan of the set based on your viewing of the production.
Supporting Images - In addition, you are encouraged to use images in support of your
observations about the play, the space and the design which should be incorporated
into your written response.
PROJECT ONE – Analysis of a
Performance Space 1
What are we asking you to do?
You will be provided with three recordings of productions mounted in the same performance space -
Shakespeare's romantic tragedy Romeo and Juliet, his pastoral comedy As You Like It and The
tragedy Macbeth - all of which were produced in the same space - The Royal Shakespeare Theatre,
Stratford on Avon. We want you to choose one of the productions and think about what the play is
trying to say, the qualities of the performance space and how the the designer has responded to both
the play and the space in their design.
Finding the productions:
You can find the productions in canvas through this page which is in the Assessment Module
The page is called ‘Three productions of three plays by Shakespeare in one performance Space’
Make sure you follow the instructions – you have to log in to Digital Theatre Plus first before clicking on
the links to the productions
You can also find the texts to the plays to be able to read along if you want to – but beware that the
productions have made some cuts and some rearrangement of scenes.
PROJECT ONE – Analysis of a
Performance Space 1
Some of the areas we would like you to consider in your written response are:
The Play
■ What do we know about the play? Who wrote it and when was it written?
■ What is the play about?
■ Can you identify some key themes, ideas, intentions behind the play?
PROJECT ONE – Analysis of a
Performance Space 1
The Space
■ Where is the theatre the production is being performed in?
■ What type of stage is it? Can you identify any historic precedents (earlier examples
of performance spaces) for the theatre?
■ Comment on the audience performer relationship, the size of the audience and how
they witness the play
■ Comment on the way the actors enter and exit the space - does this help tell the
story?
■ Has the space dictated how to approach the play?
PROJECT ONE – Analysis of a
Performance Space 1
The Design
■ Who designed the production, who directed it? When was it produced?
■ Does the set change during the play and are there any changing or moving parts to
the design that help to do this?
■ What materials, colour choices, textures has the designer used for the design - and
do they help tell the story of the play and or reveal the themes and ideas of the play?
■ Has the designer used scale in the design - do the human figures look small or large
in the space, and does this contribute meaning to the play?
■ Do you think the design helps communicate the themes and ideas in the play?
PROJECT ONE – Analysis of a
Performance Space 1
A Draft Plan of the Set in the Space
■ Can you draw a simple plan of the set in the theatre? This can be very simple and
based on what you can guess, intuit or estimate from looking at the performance,
and can be simply drawn directly on top of an existing plan using either analogue or
digital means. You can find some drawings and photographs of the Royal
Shakespeare theatre here.
Please note: You are required to use correct terminology in your response, drawing on
terminology discussed in the lectures and referred to in the glossary of terms
PROJECT ONE – Analysis of a
Performance Space 1
We have made a page called Project 1 FAQ
This should be the first place you go for any questions – if it doesn’t have the answer, let
us know and we’ll update it!
PROJECT TWO – Analysis of a
Performance Space 2
Task Details:
Purpose:
To consider a contemporary theatre space with particular reference to two separate productions mounted in
the space
Task length:
Lecture and Tutorial time and independent study over 4 weeks.
Weighting:
1000 words, 25% of subject grade
Due:
Friday 29.04 before 11:59 pm on Canvas
(A penalty of 10% per working day will be applied for every day after the due date.)
PROJECT TWO – Analysis of a
Performance Space 2
Submission:
Written Response - A written response to the task described below. We want you
to think about the qualities of the chosen performance space and how they have been
used and/or manipulated in two separate productions. (approx. 1000 words).
Supporting Images - In addition, you are encouraged to use images in support of your
observations about the space and the productions which should be incorporated into
your written response.
PROJECT TWO – Analysis of a
Performance Space 2
What are we asking you to do?
You will be given a list of four significant contemporary performance spaces. You are
required to choose one of the spaces, find two contrasting productions that were
produced in it and write an analysis describing how the performance space has been
manipulated through design
You can find a link to the list of performance spaces here
PROJECT TWO – Analysis of a
Performance Space 2
Some of the areas we would like you to explore are:
■ Background of the space - What is the history of the space? Who created it? How was it created?
■ Style of performance venue - Can you identify what style of stage the space is? Can you give an example of an historic
precedent for the space (the lectures will provide you with examples)?
■ The users of the space - Is the space designed for a particular performance form – eg ballet, drama, opera?
■ The physical properties of the space - How large is the auditorium and how big is the audience for each space. How do
they view the performers in the space? How big is the stage and does it have any special technical facilities? Is there
anything that makes the space unique or special?
■ Looking at two separate productions, how have they transformed or manipulated the space? How have they utilised
unique features of the space?
■ You are required to include visual images in your paper – this must include a plan and interior and exterior photographs
or illustrations of your chosen space.
■ Please note: You are required to use correct terminology in your analysis, drawing on terminology discussed in the
lectures and referred to in the glossary of terms
PROJECT TWO – Analysis of a
Performance Space 2
We have made a page called Project 2 FAQ
This should be the first place you go for any questions – if it doesn’t have the answer, let
us know and we’ll update it!
PROJECT THREE – Performance Space
Concept
Task Details:
Purpose:
To develop a design response to a chosen text in a chosen theatre space
Task length:
Lecture and Tutorial time and independent study over 6 weeks.
Weighting:
2000 words, 50% of subject grade
Due:
Friday 10.06 before 11:59 pm on Canvas
(A penalty of 10% per working day will be applied for every day after the due date.)
PROJECT THREE – Performance Space
Concept
Submission:
■ Floor plan - A floor plan of the space, showing the audience and its relationship to the
stage, and any interventions you might choose to make in the performance space (a set).
The floor plan can be drawn either by hand or digitally, does not have to be scale and
could be simply drawn on top of the plans we have provided. Any interventions should be
described with drawings, samples and research materials.
■ Visual References - Visual references to describe your approach to the space – images of
space, light, texture, materials - minimum of 6 images on A4
■ Written Response - A written component justifying your choices (approximately 500
words)
A note on word count - You will notice that we have stipulated 2000 words (equivalent) – this
acknowledges that the plan and the images supporting your design concept are counted
towards the word count. With a written component of 500 words, it means the images (a
minimum of six) and plan are worth 1500 words. This means that the images need to be
thought about very carefully and should be presented as A4 images.
PROJECT THREE – Performance Space
Concept
What are we asking you to do?
■ You will be given a list of three performance texts and three Melbourne performance
spaces. We will have examined each of the performance texts and each of the
spaces in detail in both the lectures and the tutorials in the second half of the
semester. Included in the tutorials will be a virtual site visit to each of the venues.
■ Having chosen one of the texts, you are then required to pair that text with one of
the performance venues, acknowledging that your choice of venue will be part of
your interpretation of the text. Or, you may wish to approach it the other way round,
choosing first a venue and then matching it to a text. The project involves the
development of an approach to the text – an identification of the key themes or
ideas in the text and how a space might assist the communication of those themes
and ideas to an audience.
PROJECT THREE – Performance Space
Concept
■ You are required to develop a design response to the text in the space – specifically
looking at how the use of space might help in conveying clearly identified themes
from the text. Plans, models, drawings, samples of materials and visual research
images are all ways of conveying your response.
■ Please note: In any written materials, you are required to use correct terminology in
your analysis, drawing on terminology discussed in the lectures and referred to in
the glossary of terms
PROJECT THREE – Performance Space
Concept
List of Texts for assessment task:
■ Hekabe, Anne Carson
■ The Threepenny Opera, Bertolt Brecht/Kurt Weill
■ The Drover’s Wife, Leah Purcell
The texts are available here in Readings Online in Canvas
List of Performance Spaces for assessment task:
■ The Fairfax Studio, Arts Centre Melbourne, Southbank
■ 45 Downstairs, 45 Flinders Lane, Melbourne
■ The Athenaeum Theatre, 188 Collins Street, Melbourne
PROJECT THREE – Performance Space
Concept
We have made a page in Canvas in the Assessment Module called Project 3 Additional
information. This page contains more information on the project.
■Any questions regarding any of the
projects? (we’re happy to receive emails)
■See you next week