Evolver Revolver Theatre Thoughts

SUMMARY OF THIS SECTION: One major principle from the evolution of performance spaces is the move from small enclosures (Church) to wide open spaces (town square and market place) to an even larger space (theatre), designated specifically for the art form. This spacial shift directly relates to the needs of the community: role of theatre as a religious teaching tool to art form requires a separate space outside of the Church, increasing popularity of theatre, and accommodations  a wide audience. Another major principle is that the role of the platea as the main speaking space is transformed into whatever the actor refers to it as, meaning the scene is established through the actors verbal command. Without the set technology or development, the actor asks the audience to suspend their disbelief in order to achieve the effect of multiple narrative locations.  

SUMMARY OF THIS SECTION: As time passes, theatre changes from community organized productions to individuals showcasing personal skills. The idea of a "celebrity" emerges as the focus  changes from theatricalized community rituals to theatre for economic profit. As a result of the newfound relationship between art and money, the importance of performance skills and technique increases. For example in the Medieval era,  rituals and festivals emphasize moral instruction through physical comedy, brass trickery, and heavy Biblical texts. Whereas in the Elizabethan era, the ability to transform into a character becomes an essential component for fame and success. 

SUMMARY OF ESSAY (1 general principle):

The evolution from Medieval rituals to Elizabethan institutional theatre reveals the shifting efficacious function of theatre depending on the cultural and social needs of society. In the Medieval era destruction, plague, and war were rampant. As a result, theatre developed as a tool for the Church to monitor faith and establish control among the chaos. Later tension grew between royalty and Church, therefore the pageant wagon processionals served as an attempt to merge the two powers. In the Elizabethan era theatre still contained religious ideas, but solely emphasized the struggles and triumphs of the royalty, again, highlighting the strain between Church and State. This shift also signifies a new cultural mindset in which power results from the individual instead of God. As a result, the need for religious teachings became less important as the financial success of citizens guaranteed power, thus theatre changed from a ritualistic tool to unite communities to institutional opportunities.