Sir, Mr Malcolm Turner (letter, June 12; see also letters, June 17) suggests that problems with audibility are peculiar to theatre in the round.
It is a common fallacy that all audience members at proscenium productions get the same experience. Whilst all viewers may be watching from roughly the same angle, they are often watching from vastly different distances. This gives the actors the problem of the level at which to pitch their performances: gestures, inflections and mannerisms large enough to be picked up by the most distant viewers might seem over-blown and “actory” to those in the front row.
Viewers in the round, on the other hand, see the performance from greatly vaying angles but are at quite similar distances from the stage, allowing actors to create truer, more natural performances for all, even though their faces may not always be visible.
Yours faithfully,
ANTON KRAUSE,
South London Theatre,
2a Norwood High Street,
West Norwood, SE27 9NS.
anton@southlondontheatre.co.uk
June 17.
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From Mr Greg Hersov
Sir, Theatre in the round is not a poor imitation of proscenium arch configurations, but a definite change from the traditional way of experiencing a play. Instead of watching some event in front of you, as so much of the world now consists of, from computer screens to shop windows, you are fully engaged by theatre in the round and invited to become a part of a community.
It has excited and delighted our audiences, actors, directors and writers over the past 30 years.
Yours,
GREG HERSOV
(Artistic Director),
Royal Exchange Theatre,
St Ann’s Square,
Manchester M2 7DH.
June 17.
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From Dr R. S. W. Hawtrey
Sir, Mr Adam Barnard (letter, June 17) suggests that the Greeks performed plays in amphitheatres. In fact, the auditorium of a Greek theatre is normally, in shape, slightly greater than a semicircle, from which all spectators can see the stage clearly. The Roman amphitheatre, in spite of its Greek name (“all-round theatre”), was a later development, and was used not generally for plays but for rather less civilised activities such as gladiatorial games.
Scenery was, as far as we know, of little account in Greek drama, and although evidence suggests that lavish costumes and elaborate dancing were much prized, it is clear that actor and text (as Mr Barnard rightly says they should be) were of higher priority. Indeed, it is likely that the reason why acts of violence (such as blindings or deaths) were so rarely shown on stage was not that propriety forbade them but that to the Greeks the effect of a detailed “ messenger speech”, recounting them was more vivid to their imagination than any attempted stage presentation.
Yours, etc,
RALPH HAWTREY,
6 Desmond Avenue,
Cambridge CB1 9JS.
June 17.