THE STRAND PLAYHOUSE
Core II Studio
Critic: Jaffer Kolb
The project started from the study and assessment of a theater originally born in 1918, which is a historical landmark composed of a typical proscenium theater. This type of theater originated in the 19th century and only allowed one way of communication between the audience and the stage. Currently, the stage is not fully activated by surrounding communities. Therefore, this project aims to redefine the space between the performance and the audience, embracing hybrid viewing experiences and fostering a unique relationship between the audience and the stage.
The project seeks to create a space that produces theatrical rituals for its surrounding communities by dividing the single casino stage into distinct viewing experiences and sensations. This approach allows the audience and performance to respond to each other dynamically.
The theater does not provide a single answer but presents one potential narrative through diagrams. This narrative explores the crossing over of reality and the suspension of disbelief, driven by different skills and sensations. Sensations are enhanced through spatial devices, movement of spectators and performers, and the dynamics between them.
The play is based on part of "Hamlet," focusing on Ophelia, exploring the different temporalities of her death in the spac
1’=1/4’’ MODEL
The theater does not provide a single answer but presents one potential narrative through diagrams. This narrative explores the crossing over of reality and the suspension of disbelief, driven by different skills and sensations. Sensations are enhanced through spatial devices, movement of spectators and performers, and the dynamics between them.
The play is based on part of "Hamlet," focusing on Ophelia, exploring the different temporalities of her death in the space. The Strand theater born in 1918 is a historic landmark composed of a typical proscenium theater that originated from the 19th century. This type of stage only allows one way of communication between the audience and the stage. The stage is not fully activated by its surrounding community.
By redefining the stage to encom
pass the entire space between the performance and audiences, questions arise about its true starting point and timing.This project aims to embrace a hybrid viewing experience, fostering a reciprocal relationship between audiences and the stage. By dividing the single proscenium stage into distinct scales of viewing experiences, each capable of standing alone yet responding to others