How might the architectural space of the theatre affect set design?
What will be an ideal response?
The theatrical space itself is always a component of the set designer's process. It defines possibilities and dimensions, and a set designer always works within some limitations. A theatre with a low ceiling has no fly space and cannot have flying backdrops. A theatre without any wing space cannot house set pieces for multiple scene changes. A black box allows the set designer to play with spatial configurations by manipulating seating and shaping the playing area; a proscenium fixes the relationship of the set to the audience. An arena stage limits the use of walls and massive objects that would obscure sight lines. The architectural features of a space can become the unadorned design. A theatrical space may also have architectural or decorative elements that can enhance a set and become incorporated into the design. For example, when churches are transformed into theatres, the architectural Gothic arches are often incorporated into set designs, and outdoor performances often use nature as their backdrops.
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The nineteenth-century movement known as Cecilianism urged a style of religious composition based on the music of ____
A) Palestrina B) Wolfgang Amadeus Mozart C) Johann Sebastian Bach D) chant
Which type of theatre, founded by Antonin Artaud, agitates the masses, attacks the
spectators’ sensibilities, and purges people of their destructive tendencies?
What will be an ideal response?