Classical and Carnivalesque Use of Performance Space

This article is based on aspects of my recent research at the East 15 Acting SchoolUniversity of Essex, UK, which focuses on the cartography of the performance space. This relates to my practical research into the actor’s choric spontaneity within classical harmonic principles, carnivalesque chorus “invasions” into a classical stage configuration and applying comic and carnivalesque structured improvisation within and interspersed with the classical text. My historical research focuses on the Renaissance production of masques and plays at Whitehall Palace, England, through the lens of the ancient Greek theatre configuration of the skene, proskenion and orkhestra. In my recent practice as research, I applied the principles and cartography of the classical Greek theatre to help visualise the King’s Men’s transfer of Shakespeare’s The Tempest between three early modern theatres and to aid and articulate my direction of Tempest Masque between contemporary theatres. I have been applying the tripartite scenography of skene, proskenion and orkhestra to my direction in a variety of performance spaces: end-on, three sides, or in the round, and with varying combinations in one performance. The spatial manifestation of Weimann’s concept of locus and platea is given emphasis through height levels in addition to the depth of the skene, proskenion and orkhestra and can be summarised as the gods’ appearances and descents from a heavenly realm from the upper skene; the protagonists/antagonists on the raised proskenion/skene; and the chorus or audience on the lower rounded orkhestra. My methodology has included training actors to be adaptable to different configurations, structured improvisation, audience interaction and forming a chorus. My practice explores how this affects the resonance of the voice, maximum visibility, physical presence, and choric relationships. I query the classical orientation of the audience, and their playful disorientation through ludic, thematic, and narrative frameworks towards audience/actor integration and interaction.