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Full Description
In this lavishly illustrated hands-on account of the creation of new theatre spaces spanning a century, Iain Mackintosh offers a compelling history that is part memoir, part impassioned call to rethink the design of our theatre spaces and the future of live theatre. As the originator of theatre designs as diverse as the Cottesloe in 1977, Glyndebourne in 1994, the Orange Tree Theatre in 1991, the Martha Cohen Theatre in 1985 and the Tina Packer Playhouse in 2001, he discovered why the same show worked in some theatres but not in others.
It is this unique blend of experience that informs this account of many of the best-known theatre spaces in Britain, besides many international examples including the Guthrie Theater, Minneapolis and the Oslo Opera House. Running throughout is a consideration of factors which have shaped design thinking during this time and which demand attention today. After the long theatre closures driven by the Covid-19 pandemic, Mackintosh argues that now is the time to discover the routes travelled over the last century.
Published in partnership with the Society of Theatre Research, the book features a foreword by Sir Richard Eyre, Director of the National Theatre, 1987-1997.
Contents
List of Illustrations
Foreword by Richard Eyre
An Introduction and a Summary
Act 1 Pre-1920: Setting the Scene and Some Early Pioneers
Chapter One: Theatre is Ephemeral While Buildings Endure. Some Necessary Background
Chapter Two: Richard Wagner, Adolphe Appia and the Spreading of the Fan
Act II 1920
Chapter Three: The Festival Cambridge, Stratford-upon-Avon and Early Days of the National
Chapter Four: Guthrie's Thrust Stages
Chapter Five: Germany's Building Boom and Anglo-American Shakespeare
Chapter Six: The Olivier, the Lyttelton and the Barbican Theatres
Act III 1976-2020: The Past Informs the Present
Chapter Seven: The Cottesloe and Other Courtyards
Chapter Eight: Worthy Scaffolds: Brook's Empty Space and Spaces Found by Others
Chapter Nine: Regenerating the Old Offers an Antidote to Modernism. Part One: English Theatres of the Eighteenth and Nineteenth Centuries
Chapter Ten: Regenerating the old offers an antidote to modernism. Part Two: A Couple of Twentieth-century Scottish Theatres Reborn - One in Edinburgh and the Other in Florida
Chapter Eleven: New Opera Houses from Glyndebourne to Dallas. Elsewhere Some Starchitects Upstage the Performers
Chapter Twelve: Learning from the Netherlands, Berlin, Brazil, Australia, Indian and Chinese Cultures. The Threat of Internationalism
Chapter Thirteen: 2010-2020: Some New Builds, Two Renovations - One at Stratford-upon-Avon and One in London - And Diversions on In-the-round and the Open Air
Act IV 2021: The Future
Chapter Fourteen: Unforeseen Consequences of Seventeenth-century Plagues, of the Arrival of the Talkies and the More Recent Dangers of the Pandemic and of 'Virtual Theatre'. Some Central Themes Restated
References
Further Reading
Acknowledgements
Theatre Index
Person Index
