For Grotowski, this relationship is the sole requirement for live theatre. But the relationship is bound to differ vastly from one type or style of performance to another, with contemporary "in yer face" theatre contrasting radically to the type of poetic drama espoused by Yeats or Chekhov's naturalism. The architecture of the theatre itself is also a major determining factor, depending on size (Reinhardt's "Theatre of the 5,000" required very different effects to Blin's Theatre de Babylone where Waiting for Godot was first produced) and type of stage (proscenium versus in-the-round, etc.) as well as seating arrangements - whether "hierarchical" in tiers and boxes, or "democratic" (as pioneered by Reinhardt at Bayreuth); and there have also been attempts to break the barrier between actor and spectator, from the Hanamichi of traditional Japanese Kabuki theatre, to promenade staging or Environmental theatre. Similarly the type of audience will vary on geography. The relationship between actor-audience on a West End stage is likely to be quite different to a small community theatre in the north of England. Active participation may be desirable for one type of production while the more traditional passive audience may be expected for another. Either way, both performer and audience are the necessary basic components of any theatrical production. (See also Audience and Audience Participation)
There is currently no content classified with this term.