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67-470: The Bloomsbury Theatre is a theatre on Gordon Street , Bloomsbury , in the London Borough of Camden , owned by University College London . The Theatre has a seating capacity of 541 and offers a professional programme of innovative music, drama, comedy and dance all year round as well as providing a space for student-led productions. Funded by a UGC grant and a considerable private donation,

134-403: A "vanishing point" on the horizon. Stage floors were raked upward slightly from front to back in order to contribute to the perspective illusion and also to make actors more visible to audiences, who were seated on level floors. Subsequently, audience seating was raked, and balconies were added to give audiences a fuller view. By the end of the 19th century, most stages had level floors, and much of

201-564: A darkened theater, sound effects, and seating arrangements (lowering the orchestra pit ) which focused the attention of audience on the stage, completely immersing them in the imaginary world of the music drama. These concepts were revolutionary at the time, but they have since come to be taken for granted in the modern operatic environment as well as many other types of theatrical endeavors. Contemporary theaters are often non-traditional, such as very adaptable spaces, or theaters where audience and performers are not separated. A major example of this

268-542: A flyloft where curtains , scenery, and battens supporting a variety of lighting instruments may hang. The numerous advantages of the proscenium stage have led to its popularity in the West. Many theatrical properties and scenery may be utilized. Backdrops, curtains and lighting can be used to greater effect without risk of rigging being visible to the audience. Entrances and exits can be made more graceful; surprise becomes possible. The actors only have to concentrate on playing to

335-583: A full performance of her debut album 19 which went to No.1 in the UK charts in the same week. Christopher Nolan and Emma Thomas meet whilst being members of UCL Film Society and cite the Bloomsbury theatre as being key to developing their directing and producer careers. Theater (structure) A theater , or playhouse , is a structure where theatrical works, performing arts , and musical concerts are presented. The theater building serves to define

402-448: A hanamichi stage with her entourage. The stage is used not only as a walkway or path to get to and from the main stage, but important scenes are also played on the stage. Kabuki stages and theaters have steadily become more technologically sophisticated, and innovations including revolving stages and trap doors were introduced during the 18th century. A driving force has been the desire to manifest one frequent theme of kabuki theater, that of

469-425: A high-ceilinged interior. Within the large temple has a stage inside which is a large platform with its own pyramid roof. The stage area is separate from the audience area with the musician (a drummer on a high seat) behind the stage, and dressing rooms also at the rear with exit doors behind. The audience would be seated on a smooth, polished floor. Several Koothambalams exist within several Indian temples, and follow

536-546: A naturally occurring site. The auditorium (literally "place for hearing" in Latin) was the area in which people gathered, and was sometimes constructed on a small hill or slope in which stacked seating could be easily made in the tradition of the Greek Theatres. The central part of the auditorium was hollowed out of a hill or slope, while the outer radian seats required structural support and solid retaining walls. This

603-399: A performance in a non traditional space such as a basement of a building, a side of a hill or, in the case of a busking troupe, the street. In a similar manner, a makeshift stage can be created by modifying an environment. For example, demarcating the boundaries of a stage in an open space by laying a carpet and arranging seating before it. The theater company Shakespeare In The Park , in fact,

670-473: A platform or performance area that extends into the audience space so that the audience is located on three sides. In theatre in the round , the audience is located on all four sides of the stage. The fourth type of stage incorporates created and found stages which may be constructed specifically for a performance or may involve a space that is adapted as a stage. Since the Italian Renaissance ,

737-417: A production, often called a black box theater , due to the common practice of the walls being painted black and hung with black drapes. Usually in a building used specifically for performance there are offstage spaces used by the performers and crew. This is where props , sets , and scenery are stored, and the performers standby before their entrance. These offstage spaces are called wings on either side of

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804-439: A proscenium stage. A prompter's box may be found backstage. In an amphitheater, an area behind the stage may be designated for such uses while a blackbox theater may have spaces outside of the actual theater designated for such uses. Often a theater will incorporate other spaces intended for the performers and other personnel. A booth facing the stage may be incorporated into the house where lighting and sound personnel may view

871-448: A theater. They may range from open-air amphitheaters to ornate, cathedral -like structures to simple, undecorated rooms or black box theaters . A thrust stage as well as an arena stage are just a few more examples of the multitude of stages where plays can occur. A theatre used for opera performances is called an opera house . A theater is not required for performance (as in environmental theater or street theater ), this article

938-427: A tradition called "stage dooring" that some fans participate in, in which fans wait outside of the stage door after the show in hopes of getting an autograph from the actors. The acting or performance space is the stage. In some theaters, such as proscenium theaters , arena theaters and amphitheaters, this area is permanent part of the structure. In some theaters the stage area can be changed and adapted specifically to

1005-456: A transposition, the recurrence of the pediment with the later solidified stone scene. In front of the skene there may have been a raised acting area called the proskenion , the ancestor of the modern proscenium stage. It is believed that the actors (as opposed to the chorus) acted entirely on the proskenion , but this is not certain. Rising from the circle of the orchestra was the audience. The audience sat on tiers of benches built up on

1072-490: A vertical dimension. The Indian Koothambalam temple is a space used to perform Sanskrit drama . Called the koothambalam or kuttampalam, it is a large high-caste rectangular, temple in Kerala which represented a “visual sacrifice” to any deities or gods of the temple. They were built for kutiyattam or “combined acting” performances, which only two dramas are performed today. The temple has a pyramidal roof, with high walls, and

1139-405: Is about structures used specifically for performance. Some theaters may have a fixed acting area (in most theaters this is known as the stage ), while some theaters, such as black box theaters have movable seating allowing the production to create a performance area suitable for the production. A theater building or structure contains spaces for an event or performance to take place, usually called

1206-472: Is associated with the performers and their actions. The stage is made entirely of unfinished hinoki , a Japanese cypress, with almost no decorative elements. The poet and novelist Toson Shimazaki writes that "on the stage of the Noh theater there are no sets that change with each piece. Neither is there a curtain. There is only a simple panel ( kagami-ita ) with a painting of a green pine tree . This creates

1273-491: Is based around performing Shakespeare plays in a space that one wouldn't likely find it, namely, Central Park in New York City. Areas of the stage are assigned names to facilitate blocking , the setting out of the precise movement and positioning of actors on a stage. To an actor facing the audience, left and right are the reverse of what they are for the audience. To prevent confusion, actors and directors never use

1340-414: Is based on an argument that "all stages are also scenes", which challenges the "deterministic assumption that stages precede scenography". In this model, stages become manifest through the place orientating traits of scenographics (rather than the other way around). The implications of this are that all theatre is scenographic – even if it has no defined objects or 'setting' – as all theatre is performed on

1407-451: Is blocked from view. A high backed chair, for instance, when placed stage right , could create a blind spot in the stage left action. A black box theater consists of a simple yet somewhat unadorned performance space, ideally a large square room with black walls and a flat floor, which can be used flexibly to create a stage and audience area. A stage can also be improvised wherever a suitable space can be found. Examples may include staging

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1474-594: Is commonly known as the invisible fourth wall of the scene. The proscenium arch evolved from the proskenium in Ancient Greek theaters. This was the space in front of the skênê or backdrop where the actors actually played. The first indoor theatres were created in French tennis courts and Italian Renaissance palaces where the newly embraced principles of perspective allowed designers to create stunning vistas with buildings and trees decreasing in size toward

1541-404: Is considered symbolic and treated with reverence both by the performers and the audience. The stage includes a large square platform, devoid of walls or curtains on three sides, and traditionally with a painting of a pine tree at the back. The platform is elevated above the place where the audience sits, which is covered in white gravel soil. The four stage corners are marked by cedar pillars, and

1608-449: Is one that extends into the audience on three sides and is connected to the backstage area by its upstage end. A thrust has the benefit of greater intimacy between the audience and performers than a proscenium while retaining the utility of a backstage area. Entrances onto a thrust are most readily made from backstage, although some theatres provide for performers to enter through the audience using vomitory entrances. As with an arena,

1675-679: Is the modular theater, notably the Walt Disney Modular Theater . This large theater has floors and walls divided into small movable sections, with the floor sections on adjustable pneumatric piston, so that the space may be adjusted into any configuration for each individual play. As new styles of theater performance have evolved, so has the desire to improve or recreate performance venues. This applies equally to artistic and presentation techniques, such as stage lighting . Specific designs of contemporary live theaters include proscenium , thrust , black box theater , theater in

1742-536: The Edinburgh Fringe has seen performances in an taxi . The traditional stage used in Noh theater is based on a Chinese pattern. It is completely open, providing a shared experience between the performers and the audience throughout the play. Without any prosceniums or curtains to obstruct the view, the audience sees each actor at moments even before entering the primary platform of the stage. The theater itself

1809-529: The Elizabethan era in England , theaters were constructed of wooden framing, infilled with wattle and daub and roofed with thatch . Mostly the theaters were entirely open air. They consisted of several floors of covered galleries surrounding a courtyard which was open to the elements. A large portion of the audience would stand in the yard, directly in front of the stage. This layout is said to derive from

1876-470: The Théâtre des Tuileries . Likewise, the meaning of front and back would be unclear because they depend on perspective. Instead, the term upstage is used to denote the part of the stage furthest from the audience or to motion away from the audience, while downstage denotes the portion of the stage closest to the audience or to motion in that direction. These terms were common in older theatres, which gave

1943-432: The orchestra was a large rectangular building called the skene (meaning "tent" or "hut"). [1] It was used as a "backstage" area where actors could change their costumes and masks, but also served to represent the location of the plays, which were usually set in front of a palace or house. Typically, there were two or three doors in the skene that led out onto orchestra, and from which actors could enter and exit. At first,

2010-462: The orchestra , the skene , and the audience. The centerpiece of the theater was the orchestra , or "dancing place", a large circular or rectangular area. The orchestra was the site of the choral performances, the religious rites, and, possibly, the acting. An altar was located in the middle of the orchestra; in Athens, the altar was dedicated to Dionysus , the god of wine and the theater. Behind

2077-508: The skene was literally a tent or hut, put up for the religious festival and taken down when it was finished. Later, the skene became a permanent stone structure. These structures were sometimes painted to serve as backdrops, hence the English word scenery . A temple nearby, especially on the right side of the scene, is almost always part of the Greek theater complex, which could justify, as

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2144-400: The stage , and also spaces for the audience, theater staff, performers and crew before and after the event. There are usually two main entrances of a theater building. One is at the front, used by the audience, and leads into a foyer and ticketing. The second is called the stage door, and it is accessible from backstage. This is where the cast and crew enter and exit the theater, and there is

2211-448: The unmarked terms left or right for the sides of the stage. Rather, they use a phrase specifying the viewpoint. The terms stage left and stage right , respectively, denote the sides of the stage that are on the actor's left and right when the actor is facing the audience, while house left and house right are the reverse, denoting the sides of the stage as viewed by the audience. In Germany, stage right and left are reversed, being

2278-657: The English language performance of Pirandello's Liola by Internationalist Theatre directed by UCL alumnus Fabio Perselli who also did the translation. From 2001, the theatre provided a residency for the New London Orchestra and hosted Robin Ince 's "Nine Lessons and Carols for Godless People" for several years. May 2006 Paul Simon performed a concert which was recorded for the BBC Radio 2 January 2008 Adele performed her first solo concert which included

2345-415: The actors. This area is referred to as the apron . Underneath and in front of the apron is sometimes an orchestra pit which is used by musicians during musicals and operas . The orchestra pit may sometimes be covered and used as an additional playing space in order to bring the actors closer to the audience. The stage is often raised higher than the audience. Space above some proscenium stages may include

2412-498: The arrangement we see most frequently today, with a stage separated from the audience by a proscenium arch. This coincided with a growing interest in scenic elements painted in perspective, such as those created by Inigo Jones , Nicola Sabbatini and the Galli da Bibiena family . The perspective of these elements could only be viewed properly from the center back of the auditorium, in the so-called "duke's chair." The higher one's status,

2479-537: The audience a better view of the action by inclining the floor (known as a raked stage ), so upstage actually was at a higher elevation than downstage. A raked stage can vary in its incline; ten degrees is considered ideal for the audience and actor comfort. A dancing surface incline is often different from an acting incline and can vary from three degrees to twenty degrees. In relationship to approaches to scenography , cultural scenographer Rachel Hann has proposed that there "are no stages without scenographics". This

2546-416: The audience in a thrust stage theatre may view the stage from three or more sides. If a performance employs the fourth wall , that imaginary wall must be maintained on multiple sides. Similar to theatre in the round, the audience can view the performance from a variety of perspectives, and as such it is usual for the blocking , props and scenery to receive thorough consideration to ensure that no perspective

2613-479: The audience in one direction. Boxes are a feature of more modern stage designs in which temporary walls are built inside any proscenium stage, at a slight angle to the original walls, in order to allow audience members located to the left or right of the proscenium (the further out, the larger the angle) to see the entirety of the stage. They enable "rat runs" around the back of the stage, when cast members have to move between exits and entrances without being seen by

2680-433: The audience looked down on, rather than up to, the stage. The competition among royals to produce elegant and elaborate entertainments fueled and financed the expansion of European court theatres. The proscenium—which often was extremely decorative in the manner of a triumphal arch—"framed" the prospective picture. The desire of court painters to show more than one of their perspective backgrounds led court architects to adapt

2747-433: The audience. This type of stage is located in the centre of the audience, with the audience facing it from all sides. The audience is placed close to the action, which provides a feeling of intimacy and involvement. Entrances and exits of characters from the stage, if any, must be through the audience or from under or above the stage. In-the-round stages require special considerations in production, such as: A thrust stage

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2814-417: The city of London. Around this time, the green room , a place for actors to wait until required on stage, became common terminology in English theaters. The Globe has now been rebuilt as a fully working and producing theater near its original site (largely thanks to the efforts of film director Sam Wanamaker ) to give modern audiences an idea of the environment for which Shakespeare and other playwrights of

2881-611: The closer they would be seated to this vantage point, and the more the accurately they would be able to see the perspective elements. The first enclosed theaters were court theaters, open only to the sovereigns and the nobility. The first opera house open to the public was the Teatro San Cassiano (1637) in Venice. The Italian opera houses were the model for the subsequent theaters throughout Europe. Richard Wagner placed great importance on "mood setting" elements, such as

2948-422: The director's view rather than the actor's. Less ambiguous terms used in theatres that follow a British tradition are prompt side or P side (stage left) and off-prompt , opposite prompt or O.P. side (stage right), relating to the traditional location of the stage manager. In French, the terms côté cour (square side) for stage left and côté jardin (garden side) for stage right are used, in reference to

3015-487: The festival for which they were erected concluded. This practice was due to a moratorium on permanent theatre structures that lasted until 55 BC when the Theatre of Pompey was built with the addition of a temple to avoid the law. Some Roman theatres show signs of never having been completed in the first place. Inside Rome, few theatres have survived the centuries following their construction, providing little evidence about

3082-419: The impression that anything that could provide any shading has been banished. To break such monotony and make something happen is no easy thing." Another unique feature of the stage is the hashigakari , a narrow bridge at upstage right used by actors to enter the stage. Hashigakari means "suspension bridge", signifying something aerial that connects two separate worlds on a same level. The bridge symbolizes

3149-406: The most common stage used in the West has been the proscenium stage which may also be referred to as a picture frame stage . The primary feature is a large opening known as the proscenium arch through which the audience views the performance. The audience directly faces the stage—which is typically raised several feet above front row audience level—and views only one side of the scene. This one side

3216-535: The mythic nature of Noh plays in which otherworldly ghosts and spirits frequently appear. In contrast, hanamichi in Kabuki theaters is literally a path ( michi ) that connects two spaces in a single world, thus has a completely different significance. The Japanese kabuki stage features a projection called a hanamichi (花道; literally, flower path), a walkway which extends into the audience and via which dramatic entrances and exits are made. Okuni also performed on

3283-453: The performance and audience spaces. The facility usually is organized to provide support areas for performers, the technical crew and the audience members, as well as the stage where the performance takes place. There are as many types of theaters as there are types of performance. Theaters may be built specifically for certain types of productions, they may serve for more general performance needs or they may be adapted or converted for use as

3350-809: The period were writing. During the Renaissance , the first modern enclosed theaters were constructed in Italy. Their structure was similar to that of ancient theaters, with a cavea and an architectural scenery, representing a city street. The oldest surviving examples of this style are the Teatro Olimpico in Vicenza (1580) and the Teatro all'antica in Sabbioneta (1590). At the beginning of 17th century theaters had moved indoors and began to resemble

3417-429: The pin-rails and pulleys of sailing ships to the unrolling, and later to the lowering and raising, of canvas backdrops. A wood (and later steel) grid above the stage supported pulleys from which wooden battens, and later steel pipes, rolled down, or descended, with attached scenery pieces. The weight of heavy pieces was counterbalanced by sandbags. This system required the creation of a storage stage house or loft that

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3484-513: The practice of holding plays in the yard of an inn. Archaeological excavations of The Rose theater at London's Bankside , built 1587, have shown that it had en external diameter of 72 feet (22 metres). The nearby Globe Theatre (1599) was larger, at 100 feet (30 metres). Other evidence for the round shape is a line in Shakespeare's Henry V which calls the building "this wooden O ", and several rough woodcut illustrations of

3551-459: The round , amphitheater , and arena . In the classical Indian dance , Natya Shastra defines three stage types. In Australia and New Zealand a small and simple theater, particularly one contained within a larger venue, is called a theatrette . The word originated in 1920s London, for a small-scale music venue. Theatrical performances can also take place in venues adapted from other purposes, such as train carriages. For instance, in recent years

3618-436: The same rectangular plan and structure. Stage (theatre) There are several types of stages that vary as to the usage and the relation of the audience to them. The most common form found in the West is the proscenium stage. In this type, the audience is located on one side of the stage with the remaining sides hidden and used by the performers and technicians. Thrust stages may be similar to proscenium stages but with

3685-418: The show and run their respective instruments. Other rooms in the building may be used for dressing rooms, rehearsal rooms, spaces for constructing sets, props and costumes , as well as storage. All theaters provide a space for an audience. In a fixed seating theatre the audience is often separated from the performers by the proscenium arch. In proscenium theaters and amphitheaters , the proscenium arch, like

3752-473: The side of a hill. Greek theaters, then, could only be built on hills that were correctly shaped. A typical theater was enormous, able to seat around 15,000 viewers. Greek theaters were not enclosed; the audience could see each other and the surrounding countryside as well as the actors and chorus. The Romans copied the Greek style of building, but tended not to be so concerned about the location, being prepared to build walls and terraces instead of looking for

3819-446: The sides of the stage, which are known as the wings . The wings may be used by theatre personnel during performances and as storage spaces for scenery and props. Several rows of short curtains across the top of the stage, called teasers, hide the backdrops, which in turn are hidden above the stage in the fly system loft until ready for use. Often, a stage may extend in front of the proscenium arch which offers additional playing area to

3886-435: The specific theatres. Arausio , the theatre in modern-day Orange, France , is a good example of a classic Roman theatre, with an indented scaenae frons , reminiscent of Western Roman theatre designs, however missing the more ornamental structure. The Arausio is still standing today and, with its amazing structural acoustics and having had its seating reconstructed, can be seen to be a marvel of Roman architecture. During

3953-536: The stage, is a permanent feature of the structure. This area is known as the auditorium or the house. The seating areas can include some or all of the following: Greek theater buildings were called a theatron ('seeing place'). The theaters were large, open-air structures constructed on the slopes of hills. The most famous open-air greek theater was the Globe Theater where many of Shakespeare's plays were performed. They consisted of three principal elements:

4020-459: The sudden, dramatic revelation or transformation. A number of stage tricks, including actors' rapid appearance and disappearance, employ these innovations. The term keren (外連), often translated playing to the gallery , is sometimes used as a catch-all for these tricks. Hanamichi and several innovations including revolving stage, seri and chunori have all contributed to kabuki play. Hanamichi creates depth and both seri and chunori provide

4087-544: The theatre building. Amongst the many other artists who have performed at the theatre are; UCL alumnus Ricky Gervais has performed two of his standup shows in the theatre, where they were also filmed for release on DVD and was the venue for Crusader Norman Housley come-back lecture series: Contesting the Crusades, which he developed into a popular history book. In July 1982, the Bloomsbury Theatre premiered

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4154-559: The theatre was opened in 1968 as the Collegiate Theatre , and was renamed the Bloomsbury Theatre in 1982. Between 2001 and 2008, the theatre was known as The UCL Bloomsbury , to emphasise links with UCL, who use it for student productions 12 weeks a year. The Bloomsbury Theatre recently returned to the logo designed by cartoonist Gerald Scarfe which it had used for nearly twenty years until 2001. The main theatre

4221-442: The whole is topped by a roof, even when the Noh stage is erected indoors. A ceramic jar system under the stage amplifies the sounds of dancing during the performance. There is a small door to permit entry of the musicians and vocalists. The independent roof is one of the most recognizable characteristic of the Noh stage. Supported by four columns, the roof symbolizes the sanctity of the stage, with its architectural design derived from

4288-447: The worship pavilion ( haiden ) or sacred dance pavilion ( kaguraden ) of Shinto shrines. The roof also unifies the theater space and defines the stage as an architectural entity. The pillars supporting the roof are named shitebashira (principal character's pillar), metsukebashira (gazing pillar), wakibashira (secondary character's pillar), and fuebashira (flute pillar), clockwise from upstage right respectively. Each pillar

4355-752: Was closed for building works in 2015 and reopened in February 2019. The theatre building also provides access to the UCL Union Fitness Centre and Clubs and Societies Centre on the 2nd, 3rd and 4th floors. The basement also holds one of the three University Shops. A UCL Union-run café is on the Ground Floor. Access to the Main UCL Wilkins Building ( Octagon Building ) and the UCL Refectory is possible through

4422-407: Was of course not always the case as Romans tended to build their theatres regardless of the availability of hillsides. All theatres built within the city of Rome were completely man-made without the use of earthworks. The auditorium was not roofed; rather, awnings ( vela ) could be pulled overhead to provide shelter from rain or sunlight. Some Roman theatres, constructed of wood, were torn down after

4489-602: Was usually as high or higher than the proscenium itself. A "full-fly" stage could store the entire height of scenery above the visible stage using the pin-rails before or during performance, whereas a "half-fly" stage (common in smaller locations) could only store props of limited size and thus required more careful backdrop and scenery design. Theatres using these rope systems, which are manually operated by stagehands , are known as hemp houses . They have been largely supplanted by counterweight fly systems . The proscenium, in conjunction with stage curtains called legs , conceals

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