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DS_JT_au16.mov |
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Question: Do you think that theatre design has changed dramatically over the last forty years? Answer: I think that there has been some designers do some extraordinary work within that period that has, you know, changed the direction of, well, that?s the trouble it hasn?t changed the direction of design, that?s what I?d say. I?d say there have been designers and you know, I think of Tom Cairnes instantly, but there?s a whole group of young British designer/directors who?ve done, you know, wonderful kind of forward-looking work within that period. Although I have to say that going to the theatre over and over again I see productions which to me could have been designed thirty years ago, so I?d say the kind of mainstream, the general mass of design has not really moved forward as much as I wish it had, and maybe that?s always the case, that you get, you know, you get kind of trend leaders working within a general culture like ours, but they don?t actually necessarily affect a revolution within the whole mass of design. I still find, you know, a lot of productions that I go to see, even in the major institutions looking dreadfully old fashioned which is what kind of makes me laugh when people think The Globe?s sort of [laughs] old fashioned, because I don?t think it is. I think it?s itself, you know. So yes, I think there have been amazing movements towards opening up space. You know, I suppose, you know there?s been things added to it like site-specific work, or you know work which uses an environment or a space that?s not a theatre, but that in itself, you know, isn?t necessarily something to shout about. That just shows up to me a big deficiency in our theatre spaces and that I find a lot of theatre spaces built in the last forty years very, very dissatisfying, ?cos I don?t think they?ve improved the actor audience relationship. They?ve not moved it on in a way that they might. And that just brings me back to why The Globe?s exciting as a dynamic, you know, because it does seem to be doing that thing of, whereas most of our lives we?re being, we?re being separated from humanity, you know, we?re being kind of, we?ve got amazing communication channels, but they are separating us from our fellow human beings and even at football grounds because of the accidents in the seventies and eighties, there?s no standing on the terraces. When I started going to football as a child, we stood on the terraces, it was dead exciting and then you squashed close to people, you touched people. Now that, that?s still possible in clubs and some concerts, but it?s not so likely as it used to be and I think a theatre that?s actually, yeah, that?s gone back to that, that?s gone back to physical contact, you know, and people, not being as close as I?d like them to get, but getting close. So, you know in terms of theatre design, I think, I wish people weren?t getting so separated from the action and they were getting closer together. |
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DS_06_06_02 (mini DV tape) |
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Quicktime Progressive (audio) |
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Resource Audio |
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This clip may be used for educational purposes only, any commercial use of this material requires permission from the copyright holders. Misuse or misrepresentation may result in legal action. Copyright holder: Christie Carson, COMPH, Royal Holloway University of London. |
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3 minutes 35.10 seconds |
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Arts and Humanities Data Service (AHDS). Copyright 2003-5.