| Abstrakt: |
While contemporary performances are flourishing outside of designated theatre spaces and its traditional forms (from Bread and Puppet Theater's street parades to Critical Mass cycling events), the city has also reentered theatre by way of elaborate staging that places cities at the heart of their dramaturgy (musicals such as I In the Heights i , 2005, and I Rent i , 1996, Complicité's I The Master and Margarita i , 2011, the National Theatre's VR piece I Home Aamir i , 2016). The Rise of Urban Dramaturgy In addition to the persistence of theatre houses and urban performance spaces such as small theatres, the city has emerged as a performance space in and of itself. They tell of how making theatre outside of theatre buildings can be a way of recognizing that cities, buildings, and urban landmarks have their own stories to tell, stories that escape textual transcription, ones that are intrinsically tied to the spaces they occupy or haunt. In his 1989 book I Places of Performance: The Semiotics of Theatre Architecture i , Marvin Carlson summarises this evolution: "The entire theatre, its audience arrangements, its other public spaces, its physical appearance, even its location within a city, are all important elements of the process by which an audience makes sense of its experience" (2). [Extracted from the article] |
