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Theater Design: 7 Basic Rules for Designing a Good Theater

Theater Design: 7 Basic Rules for Designing a Good Theater

Theater Design: 7 Basic Rules for Designing a Good Theater

Theater Design: 7 Basic Rules for Designing a Good Theater

Theater Design: 7 Basic Rules for Designing a Good Theater

Theater Design: 7 Basic Rules for Designing a Good Theater

As the curtains rise post-pandemic, and people finally realize that binge-watching is neither a lifestyle or a hobby, immersive theater is dangling the carrot of interactive drama. Take the Secret Theatre's newest offering, "The New York Secret," which throws audiences back into the 1980s, minus the questionable fashion choices, for a night of interactive performances with the likes of Bowie and Elton John. By blurring the lines between actors and audience, these shows offer a new level of engagement, making theater not just a "spectate" but a "participate" experience. Will this snap people out of their Netflix cocooning, and get them rolling off their sofas and returning to the theater?

A Smart, Strategic Way To Help Theatre Companies

International Theater Productions - Country Portfolios II: Spain M.A. Theater and Orchestra Management at HfMDK Frankfurt The challenge of this semester in the course International Production Systems is the analysis of 12 international theater systems. In the past few weeks, we have looked at the French and Spanish theater systems, which seem to be similar to the German system but differ in some key aspects. Like the German system, the Spanish theater landscape consists of a public, a private and an alternative (independent) theater system. The main difference is that theaters in Spain generally have no ensembles and therefore cannot offer a varied repertoire. New casts are made for each production. The only variety in the program consists in guest performances. In the graphic you can see the arrow of time, which traces a development in the development of theatres that is typical for the Iberian peninsula. We will compare this with Portugal tomorrow (thanks to our formidable master student Henrik Greiner, who presented a rich impulse for this hour). Why are we dealing with this in our course? The general neoliberalism of international festivals and guest performances in the field of performing arts, which has long since taken hold of the so-called independent theater scene, can only be countered by alternative forms. This can be achieved if one places value on the reception and appreciation of the respective cultural peculiarities and framing conditions. One can only limit neoliberalism by placing value on the reception and appreciation of the respective cultural peculiarities and conditions. This counters the approach that every guest performance could be shown in every country in the same way, completely out of context, without taking cultural conditions into account. This is a complete anachronism. I believe that we first need to develop in-depth knowledge of the country and a great deal of caution in order to break through the neoliberal approach of internationally touring productions and return to more humility and caution towards the countries in which we perform.

Our thanks to Playbill for the feature! Check out the article below to learn more about all the remarkable theaters and their impactful legacies: