Community Theater Green Room Discussion Board: Theatre-in-the-Round

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avcastner
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Joined: 12/21/06
Location: United States
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Topic: Theatre-in-the-Round
Posted: 11/14/07 at 7:12pm

Help! We just lost our dates for a performance venue (given wrong information last week), and we our now in search of an alternate location. If we can't find a proscenium-type space, we may have to do a theatre-in-the-round in a multi-purpose room on campus--with many, many problems (low ceilings, no sound or lighting systems, no audience risers [hoping to rent or build them], can't do a Saturday performance, space not available for tech rehearsals until 4:00 p.m., etc., etc., etc.).

Problem is . . . I've never directed in-the-round, and I know it will be difficult. I'm challenged and frightened at the same time.

Does anyone have any pointers?

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Topper
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Posted: 11/14/07 at 9:43pm

First of all, I love Theater-in-the-Round because it -- literally -- brings a new dimension to your shows.

There are several challenges to be considered: For blocking purposes you will need to establish North, South, East, and West (since crossing "upstage" or "stage left" no longer has any meaning). Sometimes using the points of a clock (12:00, 3:00, 6:00 & 9:00) instead will resolve confusion over where to place your actors and plot their movements.

Also, sightlines are an issue -- keep your furniture and set pieces low. Taller pieces can be placed at the aisles, where they won't directly block viewers.

Actors will need to get used to having audiences behind them and will need to PROJECT! so they can be heard at all corners.

On the plus side, movements and conversation tend to be more life-like as the cast doesn't have "cheat out" so their faces can be seen. Action and confrontration can become very intimate.

Be careful in choosing your scripts for this venue. Farces and mysteries don't tend to work well in the round, because there are no doorways or set pieces to hide behind -- three-quarters of the audience can see whoever's trying to conceal themselves -- and the surprise is lost.

Good luck!

"None of us really grow up. All we ever do is learn how to behave in public." -- Keith Johnstone

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vickifrank
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Posted: 11/15/07 at 9:16am

As Topper said, you want low set pieces. Since you see and feel the stage hands brush by, its more obvious when a set change occurs. So minimize the set and the set changes. So its easiest to have a few pieces that can be different things in different sets.

In a show that I saw recently, they used modular 1960ish furniture that was rearranged slightly to suggest several different living rooms and a railcar. Sometimes while the change was occuring gobo'd lights were splashed on the center rug--in one case the actor was still in place during the change in the center area, while in the dark the modular pieces were rotated to new positions.

Careful choice of music also clues the audience in to the change, changing their mood while the set moves.

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DWolfman
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Posted: 11/15/07 at 10:43am

As an actor, I have enjoyed the theatre-in-the-round experience immensely: more so than proscenium stages, it allows for full body interpretation and extremely realistic character interaction.

As a director, I found I had to help my actors "break" some habits and "build" new ones (or at least change their mindset).

I agree with the suggestions put forth by the previous posters and will add one about blocking and set placement: THINK ANGLES. Putting chairs, sofas, desks, etc. in the "corners" of the area gives all sides a chance to see action there. The same goes for the actions themselves: the more you play to the "corners" at least three sides get a good view, hopefully all four. Also, when two actors are having dialogue, placing each in a corner opens the other up to the majority of the house.

While we are at this, I'd like to open another can of worms: Anyone who has further info to suggest, also think about curtain call. I've done it different ways in the round and seen it done others. I really don't like the idea of "rotating" the bows to each corner, but a static bow doesn't seem to work well either. Any ideas?

Even a man who is pure of heart...

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Topper
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Posted: 11/15/07 at 10:49am

The best curtain call I've seen done in the round was when the cast was split in two -- half the cast faced Northwest and the other half Southeast. They took their bows, then turned and migrated opposite. Now, the NW cast faced SE and vice-versa. They took another bow and exited. This way, the audience got to applaud their favorites face-to-face.

"None of us really grow up. All we ever do is learn how to behave in public." -- Keith Johnstone

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TheDirector
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Posted: 6/10/08 at 10:45pm

One of the greatest tips that I can offer is that you should instill in your cast the idea that they should stand shoulder to shoulder when talking. By this i mean that one actor should align his left shoulder to the other actors right shoulder. This allows for space between them and allows the audience more opportunities to see other actors.
Another point is to make sure that as a general rule actors can allow more space between themselves than they would normally allow. This is because in the round is often a more intimate setting that to crowded and the actors begin to block each other from the audience diagonal to them.

We must always work as though the show will never close.

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JoeMc
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Posted: 6/14/08 at 1:37am

This is well & truly too late, as I'm sure Avcasner would have done the show by now.

just to throw my thrupenny piece worth in. orientate the venue with the cardinal compass points on the roof. Also it's helpful with scene changes to also affix different coloured lamps, as one would with a 'Dance spot', at the rear of the auditorium at the[NSEW] points.

[western] Gondawandaland
"Hear the light & see the sound!
TOI TOI CHOOKAS
{may you always play to a full house!}

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Directing
Community Theater Green Room Discussion Board :Producing Theater :Directing

Author	Message
avcastner Star Joined: 12/21/06 Location: United States Online Status: Offline Posts: 85	Topic: Theatre-in-the-Round Posted: 11/14/07 at 7:12pm
	Help! We just lost our dates for a performance venue (given wrong information last week), and we our now in search of an alternate location. If we can't find a proscenium-type space, we may have to do a theatre-in-the-round in a multi-purpose room on campus--with many, many problems (low ceilings, no sound or lighting systems, no audience risers [hoping to rent or build them], can't do a Saturday performance, space not available for tech rehearsals until 4:00 p.m., etc., etc., etc.). Problem is . . . I've never directed in-the-round, and I know it will be difficult. I'm challenged and frightened at the same time. Does anyone have any pointers?

	IP Logged

Topper Celebrity Joined: 1/27/05 Location: United States Online Status: Offline Posts: 543	Posted: 11/14/07 at 9:43pm
	First of all, I love Theater-in-the-Round because it -- literally -- brings a new dimension to your shows. There are several challenges to be considered: For blocking purposes you will need to establish North, South, East, and West (since crossing "upstage" or "stage left" no longer has any meaning). Sometimes using the points of a clock (12:00, 3:00, 6:00 & 9:00) instead will resolve confusion over where to place your actors and plot their movements. Also, sightlines are an issue -- keep your furniture and set pieces low. Taller pieces can be placed at the aisles, where they won't directly block viewers. Actors will need to get used to having audiences behind them and will need to PROJECT! so they can be heard at all corners. On the plus side, movements and conversation tend to be more life-like as the cast doesn't have "cheat out" so their faces can be seen. Action and confrontration can become very intimate. Be careful in choosing your scripts for this venue. Farces and mysteries don't tend to work well in the round, because there are no doorways or set pieces to hide behind -- three-quarters of the audience can see whoever's trying to conceal themselves -- and the surprise is lost. Good luck!
	"None of us really grow up. All we ever do is learn how to behave in public." -- Keith Johnstone
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vickifrank Celebrity Joined: 9/21/07 Location: United States Online Status: Offline Posts: 332	Posted: 11/15/07 at 9:16am
	As Topper said, you want low set pieces. Since you see and feel the stage hands brush by, its more obvious when a set change occurs. So minimize the set and the set changes. So its easiest to have a few pieces that can be different things in different sets. In a show that I saw recently, they used modular 1960ish furniture that was rearranged slightly to suggest several different living rooms and a railcar. Sometimes while the change was occuring gobo'd lights were splashed on the center rug--in one case the actor was still in place during the change in the center area, while in the dark the modular pieces were rotated to new positions. Careful choice of music also clues the audience in to the change, changing their mood while the set moves.
	IP Logged

DWolfman Celebrity Joined: 7/07/05 Location: United States Online Status: Offline Posts: 134	Posted: 11/15/07 at 10:43am
	As an actor, I have enjoyed the theatre-in-the-round experience immensely: more so than proscenium stages, it allows for full body interpretation and extremely realistic character interaction. As a director, I found I had to help my actors "break" some habits and "build" new ones (or at least change their mindset). I agree with the suggestions put forth by the previous posters and will add one about blocking and set placement: THINK ANGLES. Putting chairs, sofas, desks, etc. in the "corners" of the area gives all sides a chance to see action there. The same goes for the actions themselves: the more you play to the "corners" at least three sides get a good view, hopefully all four. Also, when two actors are having dialogue, placing each in a corner opens the other up to the majority of the house. While we are at this, I'd like to open another can of worms: Anyone who has further info to suggest, also think about curtain call. I've done it different ways in the round and seen it done others. I really don't like the idea of "rotating" the bows to each corner, but a static bow doesn't seem to work well either. Any ideas?
	Even a man who is pure of heart...
	IP Logged

Topper Celebrity Joined: 1/27/05 Location: United States Online Status: Offline Posts: 543	Posted: 11/15/07 at 10:49am
	The best curtain call I've seen done in the round was when the cast was split in two -- half the cast faced Northwest and the other half Southeast. They took their bows, then turned and migrated opposite. Now, the NW cast faced SE and vice-versa. They took another bow and exited. This way, the audience got to applaud their favorites face-to-face.
	"None of us really grow up. All we ever do is learn how to behave in public." -- Keith Johnstone
	IP Logged

TheDirector Walk-On Joined: 6/10/08 Location: United States Online Status: Offline Posts: 0	Posted: 6/10/08 at 10:45pm
	One of the greatest tips that I can offer is that you should instill in your cast the idea that they should stand shoulder to shoulder when talking. By this i mean that one actor should align his left shoulder to the other actors right shoulder. This allows for space between them and allows the audience more opportunities to see other actors. Another point is to make sure that as a general rule actors can allow more space between themselves than they would normally allow. This is because in the round is often a more intimate setting that to crowded and the actors begin to block each other from the audience diagonal to them.
	We must always work as though the show will never close.
	IP Logged

JoeMc Celebrity Joined: 3/13/06 Location: Australia Online Status: Offline Posts: 832	Posted: 6/14/08 at 1:37am
	This is well & truly too late, as I'm sure Avcasner would have done the show by now. just to throw my thrupenny piece worth in. orientate the venue with the cardinal compass points on the roof. Also it's helpful with scene changes to also affix different coloured lamps, as one would with a 'Dance spot', at the rear of the auditorium at the[NSEW] points.
	[western] Gondawandaland "Hear the light & see the sound! TOI TOI CHOOKAS {may you always play to a full house!}
	IP Logged

Topic: Theatre-in-the-Round( Topic Closed)