Why Did the Performing Arts Become Popular in the Cities in the 1800s
The story of theatre
The V&A's Theatre and Performance collections chart the fascinating history of theatre in Uk from the middle ages to today. From early dramatic forms, such as mystery plays and court masques, to the alternative and 'in yer face' drama of the late 20th century, via the patriotic wartime entertainment of the 1940s, and the foundation of institutions such as the Arts Council and the National Theatre.
Most early on theatre in England evolved out of church services of the 10th and 11th centuries. It became a truly popular class around 1350 when religious leaders encouraged the staging of mystery cycles (stories from the Bible) and miracle plays (stories of the lives of saints). These were written and performed in the linguistic communication of ordinary people rather than latin in order to teach the mainly illiterate masses most Christianity and the bible.
Each play was staged on pageant wagons that processed through the streets and stopped to perform at pre-bundled sites. By the finish of medieval times, many towns had specific spaces defended to public theatre.
The rise of secular drama
Following the Reformation in the 16th century – a motion that opposed the authority of the Roman Cosmic Church building – all religious drama in England was suppressed. Licences were issued to theatre companies allowing them to rehearse and perform in public, providing they had the approval and patronage of a nobleman.
Britain's offset playhouse 'The Theatre' was built in Finsbury Fields, London in 1576. It was constructed past Leicester's Men – an acting company formed in 1559 from members of the Earl of Leicester's household. Over the next 16 years, 17 new open-air, public theatres were constructed. Virtually of these theatres were circular, surrounding an open up courtyard where members of the audience would stand effectually the three sides of the stage. New companies flourished and writers were expected to produce a number of new plays every year to satisfy demand. Companies became known by the title of the patron's household. The 2 most famous companies and tearing rivals were the Admiral's Men and the Lord Chamberlain's Men.
William Shakespeare (1564 – 1616)
William Shakespeare, born 1564 in Stratford-upon-Avon, Warwickshire, is England'due south most famous playwright. He wrote 38 plays and numerous sonnets. It is non just the latitude of his work that makes Shakespeare the greatest British dramatist only the beauty and creativity of his language and the universal nature of his writing.
In 1594 Shakespeare joined the Lord Chamberlain's Men every bit an actor and their principal playwright. He wrote on average two new plays a year for the company. His earliest plays included The Comedy of Errors (first performed in 1594) and his starting time published work was the poem Venus and Adonis (1593). Shakespeare wrote many of his well-nigh famous plays for the Globe Theatre, which was erected in 1599 past the Lord Chamberlain's Men. When the charter on the land at their playhouse, The Theatre, in Shoreditch ran out, the company decided to dismantle the timber frame edifice and rebuild information technology on the south bank of the River Thames, renaming it The Globe.
The courtroom masque
The masque was a form of festive ladylike entertainment that flourished in 16th- and early 17th-century Europe. The English language architect and designer, Inigo Jones (1573 – 1652), collaborated with the playwright and poet Ben Jonson (1572 – 1637) to produce a serial of elaborate masques for both James I (reigned 1603 – 25) and Charles I (reigned 1625 – 49). Ane product, The Masque of Oberon (1611) cost over £two,000 to stage, with costumes alone costing over £one,000.
Inigo Jones is credited with introducing into British theatre the proscenium curvation – the space which framed the actors on stage – and moveable scenery arranged in perspective. Inspired by stage machinery he had seen whilst travelling in France and Italy, Jones' scenery used a series of shutters that slid in and out using grooves in the flooring. He even flew in scenery from to a higher place and introduced coloured lighting by placing candles behind tinted glass.
The closure of the theatres
In 1642 civil war broke out in England between supporters of King Charles I and the Parliamentarians led by Oliver Cromwell. Theatres were closed to prevent public disorder and remained closed for 18 years, causing considerable hardship to professional theatre performers, managers and writers. Illegal performances were only sporadic and many public theatres were demolished.
In 1656, the poet and playwright William Davenant succeeded in producing an all-sung version of the play The Siege of Rhodes in his dwelling. This is widely considered to be the first English opera. After Charles Two was restored to the throne in 1660, Davenant and the dramatist Thomas Killigrew were granted royal patents, which gave them virtual monopoly over presenting drama in London. These monopolies were non revoked until the 19th century.
Restoration drama
The introduction of scenery and elaborate stage machinery to the English public phase in the 1660s gave ascension to blockbuster semi-operas. Many of these were adaptations of other plays, often by Shakespeare. These had episodes of music, singing, dancing and special effects. The grandest theatre at this time, which included one of the first proscenium arches, was The Knuckles's Theatre in Dorset Gardens. Planned past William Davenant and designed by Christopher Wren (builder of St Paul's Cathedral), information technology cost £ix,000 (well-nigh £600,000 today). Information technology stood by the River Thames and steps led upward from the river for those patrons arriving past boat.
For the outset fourth dimension women were recognised as professional actresses and playwrights. The most famous playwright was Aphra Behn (1640 – 89), who had previously been employed as a spy for Charles Ii and spent a cursory stay in a debtors' prison house. A group of women writers known as 'The Female Wits' produced many works for the stage. They included Mary Pix (1666 – 1709), Catherine Trotter (1679 – 1749) and the prolific Susannah Centlivre (near 1670 – 1723), who wrote 19 plays, including the satirical A Assuming Stroke for a Wife, showtime performed in 1718.
The first woman to appear on the professional stage in England is generally considered to be Margaret Hughes (1645 – 1719), who performed in a product of Othello at the Vere Street Theatre, London in 1660. Other notable actresses at this fourth dimension included Elizabeth Barry (1658 – 1713) , likewise known as the "queen of tragedy", and Nell Gwyn (1650 – 87), who was reputed to have been painted nude for Charles II and bore him two children.
18th-century theatre
The 18th century saw the flourishing of theatre as a popular pastime and many theatres were enlarged and new playhouses congenital in London and throughout the country. One of the most successful shows on the London stage in the early part of the 18th century was John Gay's ballad opera The Beggar'south Opera. Gay recycled pop songs of the day and wrote new lyrics that were humorous and satirical.
Shakespeare'due south plays became increasingly popular during the 18th century but were reworked to conform the tastes of the day. His style was still felt to be also erratic and poets such as Alexander Pope carefully tidied upward whatever uneven verse lines. Shakespeare'due south ending to King Lear was felt to be too distressing and Nahum Tate's revised version (where Cordelia and the King survive) was preferred to the original. David Garrick rewrote the cease of Romeo and Juliet and then that the lovers speak to each other before dying in the tomb and turned the Taming of the Shrew into a farce.
David Garrick
Garrick was one of United kingdom's greatest actors and the kickoff to exist called a star. From 1741 until his retirement in 1776, he was a highly successful histrion, producer and theatre manager. He wrote more than 20 plays and adapted many more, including plays past Shakespeare. In 1742, the Theatre Majestic, Drury Lane hired him and he began a triumphant career that would last for over 30 years. Within five years, he was also managing the theatre.
Garrick changed the whole fashion of acting. He rejected the mode for declamation, where actors would strike a pose and speak their lines formally, and instead preferred a more easy, natural fashion of spoken language and movement. The effect was a more subtle, less mannered style of acting and a movement towards realism.
Phase censorship
The Licensing Act of 1737 had a huge impact on the development of theatre in Uk. Information technology restricted the product of plays to the two patent theatres at Drury Lane and Covent Garden in London and tightened up the censorship of drama, stating that the Lord Chamberlain with his Examiners of Plays must vet any script before a performance was allowed.
The act was put in place by the and then Prime Government minister Robert Walpole (1676 – 1745), who was concerned that political satire on the phase was undermining him and the authorisation of the authorities. A production of The Golden Rump, a farcical play of unknown authorship, was the principal trigger for Walpole pushing the case for banning obscene drama from the public loonshit. The play scandalously suggested that the Queen administered enemas to the King. Henry Fielding, writer of a number of successful satires, and others were suspicious that this play had in fact been engineered by Walpole himself.
Early Victorian drama
To go around the restrictions of the 1737 Licensing Act, non-patent theatres interspersed dramatic scenes with musical interludes. Melodrama and burlesque, with their brusque scenes and musical accompaniment, became extremely pop at this time. Eventually, the huge growth in need for theatrical entertainment in the early 19th century made the patent theatres' organisation unworkable. Theatres had sprung upwardly across London and the boundaries betwixt what was allowed in the patent theatres (legitimate drama) and what was presented in other theatres (illegitimate theatre) had get blurred. In 1843 the Licensing Act was dropped, enabling other theatres to present drama, although Lord Chamberlain's censorship of plays remained in place until 1968.
The Old Price Riots
Afterwards the Covent Garden theatre burnt downwardly in 1808, the direction decided to raise prices to cover the cost of rebuilding. To increase acquirement, the management reconfigured the upper gallery to squeeze in more of the one shilling seats, creating what angry patrons described as 'pigeon holes'. The price for a seat in the pit was raised from three shilling and half dozen pence to four shillings, and the admission to the public boxes went up from 6 to seven shillings. A whole tier of boxes became 'private' and could only be hired for an entire flavor. Audiences were furious and turned their acrimony on the theatre's manager, the actor John Philip Kemble.
On 18 September 1809 Kemble stepped on stage in the costume of Macbeth to welcome the audience to the first production in the new theatre, and was met with a barrage of shouting, hissing and hooting which continued throughout the functioning. Although magistrates were summoned, and some protesters arrested, the disturbance did not end until two in the morning. This was the start of what were known equally the Old Price (or O.P.) Riots. For the next ten weeks every functioning at Covent Garden was disrupted. The main objective of the protesters was to force the management to restore the old organisation of pricing. By Dec 1809 the cost of legal fees, wages for bouncers, and free passes for allies who were paid to dirge "N.P." ( 'New prices') meant that the theatre was losing £300 per nighttime. Kemble accepted the demands of the rioters and fabricated a public amends from the stage.
The Kemble family
At the plow of the 19th century the Kemble family unit dominated the London phase. Actor John Philip Kemble (1757 – 1823) was said to be the finest actor in England and his sister, Sarah Siddons (1755 – 1831), was regarded as i of the greatest e'er tragedians. In her beginning season, she performed 80 times in 7 unlike roles, inducing faintings and hysterics amongst her audiences. John Philip Kemble made his debut on the London stage in 1783 equally Hamlet. His acting style was static and declamatory, with long sweeping lines and a detached grandeur.
Edmund Kean
The popular histrion Edmund Kean (1787 – 1833) replaced Kemble as the darling of the London stage afterward making his Drury Lane debut equally Shylock in The Merchant of Venice in 1814. Kean was ane of the few actors who could make full the vast Drury Lane theatre to its chapters of iii,000. His natural passion and fiery spirit suited a melodramatic way of acting. He was said to be at his best in expiry scenes and those that required intensity of feeling or violent transitions from one mood to another.
Melodrama
Melodrama became popular from the 1780s and lasted until the early on 20th century. The beginning drama in U.k. to be labelled a melodrama was Thomas Holcroft's A Tale of Mystery (1802). Melodrama consisted of short scenes interspersed with musical accompaniment and was characterised by simple moral stories with stereotypical characters – in that location was always a villain, a wronged maiden and a hero acting in an overblown style.
Pictorial drama
From the middle of the 19th century theatre began to take on a new respectability and draw in more centre-class audiences. They were enthralled past the historical accuracy and attention to detail that was becoming increasingly influential in phase blueprint. Pictorial drama placed great emphasis on costume and reflected a fashionable involvement in archæology and history. The inevitable long and circuitous scene changes meant that plays, especially those by Shakespeare had to be cut. One of the master exponents of pictorial drama was Charles Kean (1811 – 68), son of Edmund Kean. Charles Kean was known for his painstaking research into historic apparel and settings for his productions at the Princess'southward Theatre in London's Oxford Street during the 1850s.
Histrion-managers
19th century theatre was dominated by player-managers who ran the theatres and played the lead roles in productions. Henry Irving (1838 – 1905), Charles Kean and Beerbohm Tree (1852 – 1917) all created productions in which they were the star. Henry Irving dominated the London phase for over 25 years and was hero-worshipped by his audiences. When he died King Edward Seven and the President of the United States sent their condolences.
Shakespeare was the most popular author for these role player-managers. It became fashionable to give Shakespeare's plays detailed and historically realistic sets and costumes. The stage spectacle was often more of import than the play itself and texts were cutting to permit fourth dimension to change the massive sets and give maximum exposure to the leading role.
The first adult female actor-manager in London was Eliza Vestris (1797 – 1856), a singer and dancer who also managed the Olympic Theatre from 1830. There she presented a plan of Burlesques, many starring herself. Other women managers in the 19th century included Madge Kendal (1848 – 1935) and Sarah Lane (about 1822 – 99) at the Brittania Theatre, Hoxton.
Ellen Terry
The greatest English actress of the tardily 19th and early on 20th century was Ellen Terry (1847 – 1928). She joined the legendary role player-manager Henry Irving at the Lyceum Theatre from 1878 to 190 as his leading lady, and for more than the side by side ii decades she was considered the leading Shakespearean and comic actress in Britain. Two of her virtually famous roles were Portia in The Merchant of Venice (1875) and Beatrice in Much Ado Well-nigh Nothing (1882). In 1903 Terry took over direction of London'due south Imperial Theatre where she focused on the plays of Bernard Shaw and Henrik Ibsen. However financial failure meant she returned to acting at that place years later.
The V&A holds The Ellen Terry Drove, which contains a vast quantity of correspondence, including messages written by Terry to her daughter, costume designer Edith Craig, and messages written from her stage co-star Henry Irving. The annal besides contains a notebook of Terry'southward thoughts on Irving.
19th century spectacle
The sophisticated technology and machinery of the late 19th century stage produced a succession of 'awareness' dramas in which special furnishings became the principal attraction. Scene painters, working with proficient technicians, produced realistic reproductions of the natural earth. Using ropes, flats, bridges, treadmills and revolves, they could produce anything from a chariot race in Ben Hur to a rail crash in The Whip.
One of the greatest designers of 'sensation' scenes was Bruce 'Sensation' Smith. He worked at Drury Lane Theatre, which became the best-selling dwelling of such drama post-obit the introduction of hydraulic stage machinery at the theatre in 1894.
Cup and saucer drama
The playwright Tom William Robertson (1829 – 71) introduced a new kind of play onto the 19th century theatre scene. His pioneering 'trouble plays' dealt with serious and sensitive issues of the day. Robertson's piece of work was considered and then revolutionary in fashion and discipline that no established management would produce his plays. "Danger", said Effie Bancroft, "is better than dullness" and she went on to produce a cord of successful and assisting hits by Robertson, such as Ours (1866), Caste (1867), Play (1868) and School (1869). Caste was nearly marriage across the class barrier and explored prejudices towards social mobility. People talked in normal language and dealt with 'ordinary' situations and the performers didn't 'act' but 'behaved' similar their audience – they spoke, they didn't declaim.
New drama in the early 20th century
The plow of the 20th century saw the emergence of two dominate trends in theatre: the dramatisation of contemporary, moral and social issues, and an interest in a simpler and more abstract staging of plays. Innovative work from away, particularly playwrights such every bit Henrik Ibsen and Anton Chekhov, was too influential in the shaping of this new drama.
Political theatre
Harley Granville-Barker's management of the Royal Court between 1903 and 1907 saw the popularisation of the work of George Bernard Shaw. Bernard Shaw was i of the most successful writers of the early 20th century and an outspoken member of the Fabian Lodge, an organization committed to social reform and considered by many at the time to be subversive. He challenged the morality of his bourgeois audiences with his satirical and often humorous writing that included uncomfortable topics such every bit faith and prostitution. Many of his plays were censored by the Lord Chamberlain, including Mrs Warren's Profession (1893, showtime public functioning in England 1925), which centred on a old prostitute and her attempt to come up to terms with her disapproving daughter.
At a more than grass roots level, theatre groups aimed at promoting the socialist cause and the Labour Party sprang up beyond the state.
Between 1926 and 1935 the Workers' Theatre Move (WTM), which was centrolineal with the Communists, used theatre to agitate for social alter. WTM adult an 'agit-prop' style that took songs and sketches onto the streets in an try to incite change.
Unity Theatre grew out of the WTM. It'south aim was 'to foster and further the fine art of drama in accord with the principle that true fine art, by finer presenting and truthfully interpreting life every bit experienced past the bulk of people, can move the people to work for the betterment of guild'. Unity pioneered new forms of theatre, presenting factual data on electric current events to audiences, as well as satirical pantomimes that challenged the Lord Chamberlain's censorship.
Other influential political companies included the Salford-based Ruby-red Megaphones and the Hackney People's Players. Committed to removing the conservative trappings of theatre, they wanted to create a more than physical theatre that reflected the machine age. Popular plays were Ernst Toller'southward Masses and Men (1923)and The Automobile Wreckers (1922) and Karel Capek's futuristic nightmare RUR (1920) where machines and robots are used to replace the working course.
Founded in 1908, the Actresses' Franchise League supported the suffrage motion by staging events and readings. Past 1914, membership numbered 900 and there were groups in all major Great britain cities. Plays included Cecily Hamilton and Christopher St John'south How the Vote Was Won (1909), and Hamilton'southward most famous work Diana of Dobson'southward (1908).
The Pioneer Players was founded by Edith Craig, daughter of Ellen Terry, the renowned English language actress of the late 19th and early on 20th centuries. The company aimed to present plays of 'interest and ideas' and particularly those which dealt with current social, political and moral issues, including suffrage. The Pioneer Players performed at the Picayune Theatre which operated as a club theatre to avert the censorship of the Lord Chamberlain. Productions included Margaret Wynn Nevinson's In the Workhouse (1911) and Christopher St John's The First Actress (1911).
The repertory motion
The repertory theatre movement was forged out of the passion and conviction of Barry Jackson and Annie Horniman, who believed that a broad multifariousness of theatrical experience should be fabricated available to people at a price they could afford. Horniman believed that by subsidising theatres you could both raise the standards of performance and broaden the programme a theatre could offer to its community.
Horniman was the daughter of a wealthy tea merchant with no family connections to the theatre but she recognised the cultural value of the land-subsidised repertory companies in Federal republic of germany. In 1903, Horniman put upward the money to open the Abbey Theatre in Dublin and the Gaiety Theatre in Manchester in 1907. In just x years they produced over 200 plays at the Gaiety merely were forced to shut in 1917 because of financial difficulties.
Birmingham Repertory Theatre opened on 15 February 1913 with a product of Shakespeare'due south Twelfth Night. Its founder Barry Jackson, like Horniman, was passionate nearly the demand to offer the people of Birmingham a broad diversity of theatrical experience, and personally subsidised the building of the Rep Theatre as a base for his company.
Club Theatres in the early 20th century
In 1899 the Stage Club was founded with the aim of supporting a theatre of ideas. Frustrated with the conservative nature of more commercial theatres, it presented private Sunday performances of experimental plays that had not been granted licences past the Lord Chamberlain. After a police force raid on their first product (Bernard Shaw'south You Never Can Tell) it was argued that because these were private performances, the Lord Chamberlain'due south restrictions on Sunday performances and licensed plays were not applicable. The Stage Guild won the example and other 'order' theatres opened with members paying a small-scale subscription rather than an entrance fee. These theatres became the habitation of unlicensed, experimental and controversial plays – a situation that lasted until 1968 when censorship was finally overturned.
The Arts Theatre opened as a club theatre in 1927 and quickly developed a reputation for innovative and exciting work. Plays past French and German writers such as Racine and Goethe were staged at that place, also as new writing from British playwrights. Actors such every bit John Gielgud and Sybil Thorndike worked at the Arts Theatre even when they were well known in the West End – such was their commitment to presenting more experimental work.
West End theatre between the wars
Westward End theatre between the wars was a strange mixture. For the most function theatres were impoverished past the Low and remained conservative both in the content of their work and the staging.
The plays of George Bernard Shaw, Somerset Maugham, Terence Rattigan, Noël Coward and J B Priestley dominated the scene. Whilst Priestley and Shaw had a strong left-wing calendar, the plays were essentially conservative in form. Shakespeare'due south plays virtually vanished from the West Cease. His home now was the Erstwhile Vic Theatre and the regional repertory theatres which experimented with gimmicky apparel productions. Information technology was John Gielgud who brought Shakespeare back to the West End in 1935 with his productions of Romeo and Juliet, Richard III and The Merchant of Venice.
Commercial theatre thrived and at Drury Lane large upkeep musicals by Ivor Novello and Noël Coward used huge sets, extravagant costumes and large casts to create spectacular productions. Coward'southward Column (first production in 1931) was an epic play which traced the history of the early years of the 20th century through the lives of one family. Coward remained one of the popular writers of this period with comedies such equally The Vortex (1924), Fallen Angels (1925) and Present Laughter (1942).
The Second World War saw a surge of interest in the arts with many noncombatant and military audiences experiencing drama, opera and ballet for the first time. This interest led to the establishment of the Arts Quango by the regime in 1946 with an annual grant to distribute among the arts. This grant ensured the survival of companies similar the Sadler'southward Wells Ballet and Opera and the eventual institution of the Royal Opera, the Royal Shakespeare Visitor and the National Theatre, equally well as supporting theatre in the regions and the work of individual artists and companies. By 1956 the Arts Council was subsidising 40 companies across the country and between 1958 and 1970 fifteen new theatres had been constructed with public money.
Mail-war West End theatre
Subsequently the end of the Second World War, the Westward Terminate was dominated by the commercial sector. Farces and 'who-dunnits' became popular, the most famous being The Mousetrap, an accommodation of an Agatha Christie novel that opened in 1952 and is still going today. The glamorous productions of the 1950s, produced by Binkie Beaumont and H K Tennent, soon became economically unviable. Actors moved into Television receiver to make more money and West Cease productions shrank in size.
This menses besides saw an explosion of new writing with John Osborne'southward Look Back in Acrimony (1956) seen as the landmark for a new generation of immature writers who included Arnold Wesker, Tom Stoppard, Edward Bail and Harold Pinter. Small venues continued to promote and support new writing as more experimental productions moved into the mainstream theatres, including George Devine's Regal Court. The phrase 'In yer face theatre' has been applied to many of the immature writers who were produced past the Imperial Courtroom in the 1990s. This ambitious and confrontational way was designed to assault the audience'due south sensibilities. It explored the gut-wrenching extremes of the human condition and rammed the excesses of contemporary lodge down its pharynx. One of the most successful 'In yer face' productions was Marker Ravenhill'south Shopping and Fucking, which opened at the Royal Court in 1996. "A shocker in every sense of the word", declared The Daily Mail.
The National Theatre Company was formed in 1963 at the Old Vic under Laurence Olivier and moved to its new home on London's South Bank in 1976, directed by Peter Hall. Peter Hall had too directed the first years of the Royal Shakespeare Visitor at Stratford-upon-Avon.
Political theatre also flourished at this time – notably the work of Joan Littlewood and the Portable Theatre Visitor, who produced immature political writers such as John McGrath, David Edgar, Trevor Griffiths, David Hare and Howard Brenton. The visitor Joint Stock pioneered a procedure of collaborative working, with writers workshopping their ideas with the company to develop a script. Joint Stock was responsible for developing many of Caryl Churchill'due south early plays.
Alternative Theatre
The finish of theatre censorship in 1968 saw a surge in the culling theatre movement in Britain. No longer restricted past the Lord Chamberlain's censorious eye, companies were free to express whatever agenda they chose. Feminist theatre companies like Red Ladder and the Women's Theatre Group (now the Sphinx) began to put on plays that expressed the political agenda of the feminist motion and questioned the male person dominance of writers and directors in British theatre. Women writers like Caryl Churchill and Pam Gems wrote for companies like Joint Stock before moving onto success in mainstream theatre.
Companies also explored new ways of creating theatre, devising work which aimed to be more autonomous past involving the whole company in all aspects of the artistic procedure from initial concept to last performances.
In the funding crunch of the 1980s many 'alternative' companies had their (meagre) subsidy cut and could no longer afford to keep. However, others successfully adult into the mainstream like Hull Truck and Mike Leigh who later moved successfully into flick and television receiver.
Concrete and visual theatre
Throughout the 1980s and 90s companies began to experiment with a more physical blazon of theatre. They wanted to get away from the restraints of realistic and naturalistic drama and create an energetic visual theatre that combined stiff design with choreography and physical imagery. Influenced by the piece of work of Philippe Gaulier and Jacques Lecoq, companies such equally Theatre de Complicite practical their style to the reworking of classic texts and created new work in collaboration with writers.
This deviation was not completely new – in the 1960s Peter Brook had become interested in a more physical and visual theatre. He had been inspired by Japanese Noh theatre and influenced by the piece of work of Adrienne Mnouchkine's Theatre du Soleil in Paris. Earlier innovators in this area included Bauhaus, Dadaist and surrealist performers, choreographer Rudolf Laban and directors Meyerhold and Jerzy Grotowski and Richard Schechozer.
Today, theatre companies and groups are producing ever-more experimental works that explore social and political questions and challenge conventions of what a performance is and how it should be presented.
Blast Theory describe their work as collaborative and interdisciplinary. Works such as Tin You See Me Now? (2001) – a hunt game played online and on the streets mixed video games and functioning, whilst I'd Hide You (2012), My Neck Of The Woods (2013) and As well Much Information (2015) engaged diverse audiences through different media. Similarily, Punchdrunk, a British theatre visitor, produces work that eliminates the boundaries between stage and audience past creating immersive presentations in which the audience is free to cull what to watch and where to get.
The National Video Archive of Performance
The 5&A holds the National Video Archive of Functioning (NVAP), annal of over 300 high quality live theatre operation recordings fabricated since 1992. This unique drove is available for free to all whether you are a researcher, an actor preparing for an audition, a stage designer reviewing past interpretations, or someone who missed the opportunity to nourish a production during its run.
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Source: https://www.vam.ac.uk/articles/the-story-of-theatre
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