Theory for Theatre Studies: Space

by Kim Solga, Susan Bennett (Series Editor)

Theory for Theatre Studies: Space provides the first overview for students and researchers of relevant critical theory relating to this fundamental aspect of theatre and performance. It examines the 'spatial turn' in 20th century theatre and performance making - and criticism - and the ways in which 'space' and 'performance' came to overlap and intertwine for both artists and theorists, beginning with avant-garde realism in the late 19th century. The volume provides a brief historical overview of the ways in which space has always been conceived as integral to theatre and performance, both in Western frameworks and cross culturally, before establishing five frameworks for thinking through the spatial turn:
- architecture and built space
- political economies of space
- virtual, fantasmatic
- imagined space
- topographical theatre
- site-specific spaces.

A range of cases studies from the contemporary world of theatre and performance demonstrate how these frameworks continue to shape and impact the ways in which space emerges as a topic of critical discussion today. These case studies include large-scale immersive performance; solo-participant audio walks, and topographic plays using live-stream cinema together with performers on stage. Finally, the volume explores new trends by charting the rise of theatre and performance works engaging with the spaces of work, labour, and capital at the beginning of a globalized, dispersed, neoliberal century.

Part of the Theory for Theatre Studies series which introduces core theoretical concepts that underpin the discipline, Theory for Theatre Studies Space provides a balance of essential background information and original thinking, and is grounded in case studies to equip readers. Volumes follow a consistent three-part structure: an overview of how the term has been understood within the discipline; current trends illustrated by substantive case studies; and emergent trends and interdisciplinary connections.

200 pages, Paperback

Published February 7, 2019

About the author

Kim Solga is an artist, writer, outdoors adventurer, art educator and arts ecommerce specialist. She writes handy how-to books on art and selling art and crafts online.

View Kim's watercolors at http://www.solga.com. Follow on Facebook at https://www.facebook.com/KimSolgaArtw...

There's also a website for Selling Arts and Crafts Online at http://www.selingartsandcraftsonline.com.

Reviews

[Ernst · Rating 4 out of 5]

Since Bachelard wrote The Poetics of Space in 1958 (or it was translated into English in 1964) theaters have become increasingly aware that we experience space as a cultural construct as much as a physical reality, particularly since the theatergoer inherently asks first "Where is the stage, are the aisles shared between actors and audience, and where can I go?" which begins the experience with a question about how space has been culturally constructed. It is instructive to stream the 1991 movie Enchanted April and realize how the entire movie interprets the novel as a process of people defining their spaces.
The strengths of the book are the description of the development of these new awarenesses and the detailed reading lists. The weakness is some of the politics -- things like we must consider the space given to the technical crew which, as a theatregoer or moviegoer, I have no access to, no matter how important it is to honor all the people who make theatre. Or the use of the book to advocate for giving space to people who are underrepresented in the theatres, which is more a matter of giving attention or changing out attitudes toward than of changing space.
In any case, the political adaptation in this book draws no distinction between people I know little about, like those from different races or sexual orientations, people that make me uncomfortable, like Pro-Lifers or advocates of violent political change, or people I think should be loathed by everyone, like Terrorists and Fascists. As long as the theory sticks to people who are saying things I wish I had thought of, or that I agree with, then it isn't very challenging, but were it to consider more difficult cases, I'm not sure how it would work or whether it would work.