Theatre Architecture

Architecture plays a signifi cant role in the storytelling, showing, as well as performing of theatre. By using narratology, this research aims to extricate how architecture can influence the dissemination of story to theatre audiences. First, architecture plays the role of the provider
of setting for the story (known as the diegetic layer as it pertains to the narration). Second, it also enables specific spatial strategies to allow audiences to gain information and meaning from the story (known as the extra-diegetic layer as it pertains to the medium which disseminates the narration). While the fi rst role of architecture is inherent in every theatre performance, the latter is not always taken and explored in full awareness.
This research will be looking at a range of extra-diegetic spatial plays in several theatre performances, from Lazarus by Enda Walsh, Nocturnes by Imitating the Dog, Witness of The Prosecution by Eleanor Lloyd Productions and Rebecca Staff ord Productions, Oh My Sweet Land
by Play Company, to Rhoda and the Fossil Hunt by On Site Opera, to The Scent of Memories by Kamini Ramachandran. After rendering the spectrum, this research locates some of Indonesia’s theatre works, namely Suara Tiga Telaga (The Voice of the Three Lakes) and Dua Manusia (The Two Human Being) by Drupadi ID, as well as Jalur 17 (Route17) by Teater Gardanalla. To conclude, this research highlights the importance of the extra-diegetic role of architecture in theatre performance, as well as to open conversation between the Indonesian and the world theatre.
Keywords: theatre performance, architecture, narratology, extra-diegetic, audience

german/english

Publikation/publication der/by "Initiative TheaterMuseum Berlin e.V." Hrsg./editor: Dr. Stefan Gräbener Beiträge/articles von/by Fabio Antoci, Frank-Rüdiger Berger, Richard Bryant, Thimo Butzmann, Andrea Clos, Pablo Dornhege, Friedewalt Degen, André Deridder, Dieter Frank, Silvio Gahs, Dr. Stefan Gräbener, Michael Kutzer, Laurent Le Bec, Klaus Möbus, Prof. Dr. Peter P. Pachl, Klaus-Dieter Reus, Ramona M. Riedzewski, Franziska Ritter, Heather Romaine, Halvard Schommartz, Gabriele Schuster, Dr. Wendy Waszut-Barrett

Editorial
Die Jubiläums-Ausgabe unserer Publikation erscheint in einem ganz besonderem Jahr, welches alle Bereiche unseres Lebens - aber nicht zuletzt gerade den der Kultur - mit ganz besonderen Herausforderungen konfrontiert. Der zwangsweise aber unvermeidbar erforderliche Verzicht auf öffentliche Veranstaltungen wirft eine ganze Branche in eine nachhaltige Krise und unsere Gesellschaft muss unerwarteter Weise über die Kategorisierung von SystemRelevanz nachdenken, wie es sich wohl niemand je hätte vorstellen können.
Wie also damit umgehen und welche Lehren kann man daraus ziehen?
Diese Publikation hat darauf natürlich auch keine adäquaten Antworten. Die persönlichen LebensUmstände (privat wie beruflich) der honorarfrei schreibenden Autoren und die generellen Bedingungen unter denen dieses „Heft“ entsteht führten letzten Endes zu einer Verschiebung der Drucklegung. Angesichts verschobener oder gar abgesagter Messen, Tagungen und Konferenzen, der Verschiebung von Prioritäten, sind wir dennoch sehr froh, dass es zu (fast) keinem Ausfall kam.
Zudem freuen wir uns mit dieser Ausgabe erstmals bilingual zu erscheinen. Dies ist vor allem dem starken internationalen Interesse an unserer Publikation geschuldet. Das Feedback aus dem nicht-deutschsprachigen Ausland steigt weiter an und übertrifft die inländischen Rückmeldungen schon seit Längerem. Ein Umstand, der hier nur erwähnt, aber nicht kommentiert werden soll. Die Gründe dafür liegen mutmaßlich im Bereich des Spekulativen.
Die Übersetzungen in die jeweils andere Sprache erfolgten mit Hilfe der Online-Plattform DEEPL, die zwar grundsätzlich sehr gute Ergebnisse liefert, welche in der Regel auch wissenschaftlichen Ansprüchen stand halten, trotzdem bleibt eine Überarbeitung unvermeidlich. Insbesondere wenn es um historische Zitate und sehr spezielle FachTerminologie geht stösst diese Technik schnell an ihre Grenzen.
Alle Artikel wurden zwar Korrektur gelesen, wir bitten jedoch um Nachsicht bei etwaigen Ungenauigkeiten.

Vielleicht wird vor allem in solchen Zeiten deutlich wie wichtig auch die wissenschaftliche Aufarbeitung von Kultur im Allgemeinen und Theater im Speziellen ist. Die Dokumentation und Erforschung der Prozesse. Und darüber hinaus das Nachdenken über den Umgang mit digitalen Medien um dieses Wissen zugänglich zu machen.
Viele LernProzesse sind in diesen Zeiten in Gang gesetzt worden.
Wollen wir hoffen, dass es nicht nur temporäre Erscheinungen bleiben. Eine nachhaltige AuseinanderSetzung muss fortgesetzt werden. Die gerade in Deutschland weiterhin anhaltende und definitiv absurde Skepsis gegenüber den digitalen Möglichkeiten sollte endlich überwunden werden. Der zu beobachtenden Umgang zahlreicher deutscher Bühnen mit dieser Situation lässt diese Hoffnung allerdings schwinden. Von der Präsenz theaterbezogener Sammlung mag ich gar nicht erst anfangen.
Das allseits bekannte technologische Defizit Deutschlands in punkto Internet wird nur durch die gewisse Hilflosigkeit im Umgang der Nutzung und der Wahrnehmung der positiven Möglichkeiten übertroffen.
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The anniversary edition of our publication is being published in a very special year, which confronts all areas of our lives - but not least of all those of culture - with very special challenges. The forced but unavoidable renunciation of public events throws an entire industry into a lasting crisis and our society has to reflect unexpectedly on the categorisation of systemic relevance in a way that probably nobody could have ever imagined.
So how to deal with this and what lessons can be learned?
Of course, this publication does not have adequate answers to these questions. The personal circumstances (both private and professional) of the authors writing for free and the general conditions under which this magazine was produced ultimately led to a postponement of going to press. In view of postponed or even cancelled fairs, meetings and conferences, the shift in priorities, we are nevertheless very pleased that there was (almost) no cancellation.
What is more, we are delighted to be able to publish this issue bilingually for the first time. This is mainly due to the strong international interest in our publication. Feedback from non-German-speaking countries continues to rise and has been exceeding domestic feedback for quite some time. This is a circumstance that should only be mentioned here, but not commented on. The reasons for this are presumably speculative.
The translations into the other language were done with the help of the online platform DEEPL, which in principle provides very good results, which usually also meet scientific requirements, but a revision remains inevitable. Especially when it comes to historical quotations and very specific technical terminology, this technique quickly reaches its limits.
Although all articles have been proofread, we ask for your indulgence in case of possible inaccuracies.

Perhaps especially in such times it becomes clear how important the scientific processing of culture in general and theatre in particular is. The documentation and research of processes. And furthermore, the reflection on how to use digital media to make this knowledge accessible.
Many learning processes have been set in motion in these times.
Let us hope that they will not remain temporary phenomena. A sustainable exchange must be continued. The definitely absurd scepticism towards digital possibilities, which continues to exist especially in Germany, should finally be overcome. However, the way numerous German theatres are dealing with this situation is causing this hope to fade. I don't even want to start with the presence of theatre-related collections.
Germany's well-known technological deficit with regard to the Internet is only exceeded by the certain helplessness in dealing with the use and perception of the positive possibilities.

Due to the increasing interest in performance as a design paradigm in the last 25 years, the term " performative architecture " can be defined very broadly within an expansive context from technology (structure, thermal energy, acoustics, etc.) to cultural theory, from socioeconomic to environmental issues. This paper will try to make a synthesis between spatial performance and spatial performativity in order to use this synthesis as the critical framework for its analysis. Judith Butlers's notion of performativity has entered into the vocabulary of architecture to explore the interrelation between subjectivity and place and has been used to think through how subjectivity is enacted in place and how place itself is enacted in the process of performance. On the other hand, performative architecture has a capacity to respond to changing social, cultural and technological conditions by perpetually reformatting itself as an index of emerging cultural patterns. In performative architecture, space unfolds in indeterminate ways, in contrast to the fixity of predetermined, programmed actions, events and effects. In this sense this paper aims to reread and reinterpret some examples of the 20 th century theatre architecture in light of performance and performativity in order to answer the question: Can any black box theatre be called as an example of performative architecture?

An essay connecting the imagined muse of architectural drawing and dreaming with Polymnia, the muse of pantomime. The essay provides context for a pantomime play, demonstrating the patient search for eudaimonia, through the act of architectural invention. This play was devised in honour of Marco Frascari, an advocate for mime as a mode of architectural interpretation and agency. It was performed as the culminating event of the 2nd Frascari Symposium on March 29, 2014. The text of the (originally silent) pantomime play is a retrospective poem, accompanied by a retrospective drawing synthesizing the event, and a series of staged photographs reenacting the play's choreography, costumes and props. The performance and text were created in collaboration with my partner, Ted Landrum.

Link to the eBook listing on WorldCat OCLC to find it a library near you:
https://worldcat.org/en/title/966446247