How Does Shakespeare Present Space In The Tempest

1. How does space perform?

Space is shown as a vital factor in the directorial connection linking the performance and the audience. A live performance is established in a three-dimensional space. The research of any time of theatre history can show you that there has, and always will be, a manufactured advancement of the space in the theatre whether this be both traditional and informal. In every single case, “the audience member, the spectator, becomes part of the performance, and is therefore an integral part of the space itself”. For concurrent shows, the theatre space itself can span from a much formal and conservative approach with a proscenium-arch to a much more radical approach where the performance can be outside on the streets of
Evidently, the storyline of a performance is at no time been apparent that it is in a vacuum but every time opposed to the backdrop of a distinct landscape and frequently the landscape correlates with what is going on in the stories world. Consequently, the storm at the start of Shakespeare’s The Tempest not only begins the play and purpose as a successful framework to the action but it also demonstrates the confusion in which most of the characters detect themselves at the start. The absence of tranquility and structure in the civil world is therefore comparable to mayhem and demolition in the natural
What does Schechner mean when he calls performance ‘restored behaviour’ or ‘twice behaved behaviour’? What are some examples of ‘restored behaviour’ in performance or in the world? Why might this concept/definition be useful in understanding theatre?

Restored behaviour is treating ordinary life behaviours as if they were film scripts that you take, re-take and edit. It shows that there are no real first time to any behaviour that we do like when we are performing in a play, it is made up of other behaviours that are rearranged, reemphasised and reassembled. This is why it is never for the first time. It exists paradoxically in the space between of a denial and a denial of a denial for example Laurence Olivier is not Hamlet, we know the actor and therefore we know the role. However, Laurence Olivier is not, not Hamlet also because whilst he is on stage we presume him to be Hamlet, he has absorbed Hamlet, he has broadcasted Hamlet, he performs Hamlet. Hamlet as a character exists in that space between who Laurence Olivier is not and who he is creating. This negative approach can sometimes be somewhat creative it is close to what Grotowski described as the “Via Negativa” that if you take something away you invite people to make creative choices in what is possible once you settle on something you settle on it and finish. Restored behaviour is treating life as an open possibility of making and remaking of who we are and what we