Book contents
- Visualising Lost Theatres
- Cambridge Studies in Modern Theatre
- Visualising Lost Theatres
- Copyright page
- Contents
- Figures
- Acknowledgements
- Introduction
- 1 The Rose Theatre, London, and Stage Movement in Marlowe’s Doctor Faustus
- 2 Komediehuset, Bergen, and Henrik Ibsen’s Stagecraft in His First Theatre
- 3 A Colonial Audience Watching Othello at the Queen’s Theatre, Adelaide
- 4 Cantonese Opera and the Layering of Space on the Australian Goldfields
- 5 The Design of Attraction at the Stardust Showroom in Las Vegas
- Conclusion: Visualising the Future of Theatre Research
- Appendix: The Eighteen Scripts of the Underworld
- References
- Index
1 - The Rose Theatre, London, and Stage Movement in Marlowe’s Doctor Faustus
Published online by Cambridge University Press: 18 August 2022
- Visualising Lost Theatres
- Cambridge Studies in Modern Theatre
- Visualising Lost Theatres
- Copyright page
- Contents
- Figures
- Acknowledgements
- Introduction
- 1 The Rose Theatre, London, and Stage Movement in Marlowe’s Doctor Faustus
- 2 Komediehuset, Bergen, and Henrik Ibsen’s Stagecraft in His First Theatre
- 3 A Colonial Audience Watching Othello at the Queen’s Theatre, Adelaide
- 4 Cantonese Opera and the Layering of Space on the Australian Goldfields
- 5 The Design of Attraction at the Stardust Showroom in Las Vegas
- Conclusion: Visualising the Future of Theatre Research
- Appendix: The Eighteen Scripts of the Underworld
- References
- Index
Summary
Chapter 1 examines London’s Rose Theatre (1587–1603), which contributed significantly to the development of western theatre. We explore Marlowe’s Doctor Faustus in the intimacy of the Rose against his large-scale imagined worlds. The Rose was located very near the Globe Theatre, best known for William Shakespeare’s plays. The virtual-reality model of the Rose highlights physical proximity as a key factor in this intimate amphitheatre. The chapter takes readers through blocking and how a virtual model can determine possibilities for movement and action on this stage, against both a physical and metaphysical attention to subjectivity, as audience members were shifting from the end of the medieval era into the early modern era. In this polygonal cauldron-like venue, Doctor Faustus rehearses the profound shifts of subjectivity from God-centred to human-centred. The performance laboratory research conducted in the virtual amphitheatre demonstrates a convergence of multiple theatrical forms, philosophical ideas, and audiences.
- Type
- Chapter
- Information
- Visualising Lost TheatresVirtual Praxis and the Recovery of Performance Spaces, pp. 15 - 37Publisher: Cambridge University PressPrint publication year: 2022