Reflections on the design of a hypertheater

I’ve written seven produced hyperdramas, and each has been performed in a real space, on what would be called “a location” instead of “a set.” But what if a theater company wanted to specialize in the productions of hyperdrama? Would they have to find and rent an appropriate location for each new work? What would the design of their performance space look like if they produced all their hyperdramas “in house”?

I’ve given these questions considerable thought over the years without much satisfaction. This morning, however, I awoke with the design of a “hypertheater” in my head. If I were younger, I would jump on this because I think it will work. Instead I put down my thoughts for the possible inspiration of younger theater artists.

The company would be located in something like a warehouse. The performance area would be built on a large flat interior space. The concept defining the performance area is a large circle. Around a circumference of the circle the locations for performance of the play will be defined, as many as necessary for a given work.

Each location will be defined first by one or more screens upon which electronic images are projected (photographs, paintings). A minimum number of props (furniture, etc.) are used in each location as well. Each location is illuminated overhead by focused light that does not spill out into the adjacent locations. All of this is controlled by technicians and prop masters whose area is located in the interior area of the circle.

In a slightly larger circumference is a walkway used by the actors to get from one location to another. This area and the locations themselves are accessed only by actors.

In a circumference slightly larger than the actors’ walkway is one or more rows of seating for the audience, each arranged in front of each location. Behind this, in another circumference, is the audience walkway, which is used when an audience member moves from one location to another.

The design, then, is comprised of a series of larger circles with an interior control booth. A circle of locations, an actors’ walkway, a circle of seating, an audience walkway. Locations can change during the play by changing the images and props that define them. Some may do this, others may remain stable throughout the performance.

This is a very “high tech” theater, obviously, but it has the flexibility to create the environment needed for any story since locations can be defined at will. The walkways create more order of movement as actors and audience move from location to location than occurs in “real spaces,” where a good deal of getting in one another’s way often happens. The arranged seating in front of each location provides more comfort than usual – in most hyperdramas, the audience members stand as they watch.

This circular performance area could be enclosed or defined within a larger space. Outside all the circles would be the lobby and concessions area, and so on. My main thought about the hypertheater is that this design is very workable. I doubt if I’ll live long enough to see it but I’d love to be surprised.