• Wendy Kurka Rust Flexible Theatre
   

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  Also part of the complex is the Wendy Kurka Rust Flexible Theatre a �black box� that allows for various seating configurations, depending on the production.  With 180 seats, this space caters to smaller, more intimate, theatrical productions.  

   

  The River Campus not only provides excellent facilities for the creation of art, but also provides spaces to exhibit and to learn about art.
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• Powerhouse Theatre

    

      

  This contemporary studio-style "black box" theatre provides a flexible performance space seating a typical maximum capacity of 536. It has various seating configurations ranging from standard mode to extended seating mode (740 seats) end stage, cabaret, as well as a variety of seating formats from raked seating to banquet mode.

   

  This venue may be hired for productions, public lectures, seminars, and conferences.

   

  Flexible seating formats include: Standard mode, extended seating mode, dance mode and carabet mode. In standard mode, seating in the Powerhouse Theatre is made up of a stalls area (seating 425), a balcony (seating 49), lower side gallery seats (seating 14 each side) and upper side gallery seats (seating 31 in total).

   

  Stage: flexible open stage area - 15m W x 10m D X 9m H (approx) in standard end on mode, walkable grid, sprung timber floor.

   

  Location
   Powerhouse Theatre is located in the Turbine Building.

   

  Seating capacity: 288-525

• Visy Theatre

    

      

  An intimate thrust-stage theatre, seating up to 200 for performances. Dramatically framed by the columns from the original building, the Visy Theatre provides the ideal vehicle for intimate performances, cabaret, film screenings, forums, readings and meetings.

   

  Flexible seating formats including: fixed seating bank (112), thrust-stage, cinema mode, cabaret mode. (The seating pit and side seating banks are removable.)

   

  Stage: 8m W x 6m D, extends to 12m W x 6m D, sprung timber floor.

   

  Location
   Visy Theatre is located on the river level of the Turbine Building.

   

  Seating capacity: 112 - 200

   

  Seating Plans
   Visy Theatre Seating Plan

   

  Presenter Information
   Technical Information
   Technical Drawings
   For more information on presenting a production at Brisbane Powerhouse click here.

   

  Functions
   For more information on holding a function (seminar, conference, meeting or party) at Brisbane Powerhouse click here.
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• Turbine Hall & Platform

    

      

  Large Cathedral-like space adjacent to the bar and main foyer. Suited for large-scale music events, exhibitions and product launches. The Turbine Hall and Platform are home to the free weekly music program, Live Spark and the free weekly comedy program, Livewired.

   

  Stage: dimensions to be confirmed following the refurbishment, sprung timber floor.

   

  Location
   Visy Theatre is located on the river level of the Turbine Building. <!--br />  <a href="#">View location map</a-->

   

  Seating capacity: To be confirmed following the refurbishment

   

  Standing Capacity: 1200

• A vomitorium (plural: vomitoria) is a passage situated below or behind a tier of seats in an amphitheatre, through which crowds can "spew out" at the end of a performance.
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• A vomitorium.

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• The black box theater (or experimental theatre) is a relatively recent innovation,^{[citation needed]} consisting of a simple, somewhat unadorned performance space, usually a large square room with black walls and a flat floor.

• Black box theaters became popular and widespread particularly in the 1960s and 1970s,^{[citation needed]} during which low-cost experimental theater was being actively practiced as never before. Since almost any warehouse or open space in any building can be transformed into a black box, including abandoned cafés and stores, the appeal for nonprofit and low-income artists is high. The black box is also considered by many to be a place where more "pure" theater can be explored, with the most human and least technical elements being in focus.

   

  The concept of a building designed for flexible staging techniques can be attributed to Swiss designer Adolphe Appia, circa 1921, and instigated a half century of innovations in the relationship between audience and performers.
• The interiors of most black box theaters are, true to their name, painted black. The absence of color not only gives the audience a sense of "anyplace" (and thus allows flexibility from play to play or from scene to scene), it also allows individual lighting cues to be that much stronger

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• A Historical Study of Gilmor Brown's  Fairoaks Playbox: 1924-1927  

   

    Roger Monroe Altenberg   

   

   January, 1964 
• • How was the play staged? 
      
    1.    Where were the sets placed in the room?  

    2.    Where did the audience sit?  

    3.    What were the patterns of movement and grouping of actors?  

      

  •  What were the characteristics of the scenery, properties, lighting, and special effects? 
  •  What was the nature of the acting? 
      
    1.    To what extent was it representational or presentational?  

    2.    What adjustments were made for the unusual intimacy of the theatre?  

    3.    Who were the individual actors? 
      

  •    How did audience members react to the performances? 
      
    1.    How did the general audience react?  

    2.    How did the critics react?8 
• • [Simultaneous Settings] 
    A scheme in which individual settings, each representing a separate location, are put in place before a performance begins. The action then moves from set to set, avoiding the necessity for shifting scenery during the performance.  

  • [Formal Stage] 
     A stage which employs permanent architectural elements as a basic scenic background.  

  • [Permanent, Adaptable Setting] 
     A single basic setting which remains throughout a play, undergoing minor modifications to suggest changes of scenic locale.  

  • [Actor-Audience Intimacy] 
     The attempt to bring the actors and the events of the play into a closer relationship to the audience, heightening the audience's sense of participation in the drama.  

  • [Intimate Theatre] 
     A very small theatre in 'which audience members are physically close to the actors.  

  • [Presentational Acting] 
     The presenting or showing of characters and the story to the audience, with the actors often playing directly to the audience, revealing their awareness of the presence of spectators.  

  • [Representational Acting] 
     Acting in which the performers apparently assume the identity of the characters they are playing, attempt to hide awareness of the presence of spectators, and play entirely to the other characters in the drama.  

  • [Actualism] 
     The attempt to create the impression that the events of a play are occurring as in real life.  

  • [Proscenium Staging] 
     Staging in which the proscenium arch is considered as a definite line of demarcation between the world of the play and the world of the audience. The actors confine their performance to the area behind the arch.  
• • [Non-Proscenium Staging] 
     Forms of staging in which a proscenium arch is 0 either completely absent or is disregarded as a line of demarcation between the acting area and the audience area*  

  • [Flexible, or Adaptable, Theatre] 
     A theatre in which it is possible to stage a play in a variety of forms, with no single arrangement considered as permanent for audience and acting areas.  

  • [Central Staging] 
    {\bf Arena staging, circus staging, theatre-in-the- round.}---The arrangement of the action of a play so that the audience sits around the actors on four sides.  

  • [Horseshoe Staging] 
     An arrangement in which the audience Bits on three sides of the actors. On the aide unoccupied by the audience, it is possible to place a scenic background*  

  • [“Sandwich” Staging] 
     The audience sits in two opposing sections with the acting area in between.  

  • [“L” Staging] 
     The audience sits along two walls of the room, while the acting area extends along the other two walls.  

  • [End Staging] 
     The audience sits opposite the acting area. This is the traditional audience placement in proscenium staging.  

    1  

  • [Opposite-end Staging, or “Turnabout” Staging] 
     The use of acting areas at opposite ends of a room. The audience site between them. The term “turnabout” refers to the necessity for turning the audience's seats to face in the opposite direction when the second acting area is used.\footnote{The Turnabout Theatre of Los Angeles, in existence during the 1940's, had a puppet stage at one end of the theatre and a stage for live entertainers at the other. The audience sat in swivel chairs. At intermission time the chairs were turned so that the members of the audience faced in the opposite direction from which they formerly faced.} 

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• In theater, a thrust stage (also known as a platform stage or open stage ^[1]) is one that extends into the audience on three sides and is connected to the backstage area by its up stage end. A thrust has the benefit of greater intimacy between performers and the audience than a proscenium, while retaining the utility of a backstage area. Entrances onto a thrust are most readily made from backstage, although some theatres provide for performers to enter through the audience using vomitory entrances. An arena, exposed on all sides to the audience, is without a backstage and relies entirely on entrances in the auditorium or from under the stage.
• Many of the works of Shakespeare were first performed on the thrust stage of the Globe Theater and lend themselves to such a stage design in modern times as well.

• Proscenium stage:
   What we usually think of as theatre.
   --primary feature, a "picture frame" plaaced around front of playing area of end stage.
   Frame is the Proscenium, wings are spaces on sides, extending off-stage. Scenery surrounds acting area on all sides except side towards audience, who watch the play through frame opening. Backstage is any space around the acting area out of sight of the aud.

• Proscenium stage:
   What we usually think of as theatre.
   --primary feature, a "picture frame" plaaced around front of playing area of end stage.
   Frame is the Proscenium, wings are spaces on sides, extending off-stage. Scenery surrounds acting area on all sides except side towards audience, who watch the play through frame opening. Backstage is any space around the acting area out of sight of the aud.

    

  Thrust theatre:
   --Stage surrounded by aud. on three sidees. Fourth side is background.
   Typical modern arrangement: square or rectangular playing area, usually raised, surrounded by raked seating.

    

  End Stage:
   --Thrust stage extended wall to wall. A thrust stage with audience on one side, the front.
   --Backstage still behind background walll, no real wingspace to sides, although entrances are there.
   --Modern end stage best shown in modern music hall; background surrounds playing space on three sides. Like thrust, scenery primarily background.

    

  Flexible theatre:
   --"Black Box" theatre, often big empty bboxes painted black.
   --Stage and seating not fixed. Each can be altered to suit.

    

  Profile Theatres:
   Often used as "found space" theatre, i.e. converted from other spaces.
   --Audience on risers to either side, litttle or no audience on either end of playing area. Actors staged in profile to the audience.
   --Scenically most like arena stage; somee backing possible at ends, which are essentially sides. Non-theatrical form of the profile stage: basketball arena.

•            _______Penthouse      ______|_____|______      |Grid             |      |o_o_o_o_o_o_o_o_o|      |___Loading rail__|      |                ||      |    Loft        ||              Beams      |     or    Fire ||  _________  _____  ________      |   Stage  Curtn || /                          |      |   House        ||/             | | Cove      |___       |                ||__/ | Box     | |           |   |      |____Fly rail____      | Boom    |_|          Booth|      |                      |   Auditorium          |___|      |                             or               |   |      |                            House          ___|___|      |                                        __/      |______Rail______  Apron             ___/      |______Stage_____________        ___/                              |    ___/           Trap Room          |Pit |                              |____|  

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• Owned and supported by Brisbane City Council, Brisbane Powerhouse opened as an arts centre in 2000 after its 30-year reign as a derelict power station. Bold industrial structures laced with European flair, raw textures and preserved graffiti walls combine to create the perfect artistic space and have earned the building a heritage listing.

   

  The recent refurbishment in early 2007 ensures a holistic arts and dining experience with additions including a new café bar, a reconfigured Turbine Platform to constitute a concert stage, a reconfiguration of the Powerhouse Theatre, an additional Rooftop Terrace and a roof on the existing Rooftop Terrace.

   

  Brisbane Powerhouse reopened on 1 June 2007 with its continuing vision to enrich the lives of the people of Brisbane through the production and presentation of quality performing and visual arts, cementing Brisbanes reputation as a city that values art and artists.
• Brisbane Powerhouse is both a producer of contemporary performing arts and a multi-arts, dining and conference venue. Nestled on the beautiful banks of Brisbane River (beside New Farm Park) the former power station has become a distinct landmark, both as a stunning industrial creation and as a hub for everything creative, including theatre, music, comedy, film, visual arts, festivals and ideas.

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  Graffiti Room

   

  A small meeting room with a capacity of 15, located in the Turbine Hall, the main public gathering point indoors. Ideal for interval drinks, meetings and training sessions.
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  Turbine Rehearsal Room

   

  Located on the river level opposite the Visy Theatre. The 156m2 space features sprung timber floors, a mirror, air conditioning and a kitchenette. It is suited to break-out sessions, workshops and training sessions.

• The Stores Building

   

  Located in front of the main building The Stores is a simply presented 200m2 studio space and 100m2 rehearsal room. Ideal for breakout sessions, warm ups or informal receptions, features ground floor access, natural light and a sprung timber floor. The rehearsal room has a mirror. The Stores Studio is 12m high and is suitable for physical performance and circus work.
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  Powerhouse Plaza

   

  In front of the entrance to the Turbine Hall building is the Powerhouse Plaza. The relaxing outdoor setting is suitable for outdoor team building exercises, large product and trade displays and art installations.

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• The theatre has been designed to be flexible, converting from a proscenium stage to thrust stage or theatre-in-the-round by moving blocks of seats.
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• It provides two mid-size performance venues that will stage not just theatre, but concerts, travelling shows and other performing arts events.

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• HERE has three stages; the mainstage is a flexible black box theater which seats 99, the Second Stage is a performance club with a raised stage and seats 99 and the Third Stage has a proscenium stage and seats 74. 

   HERE Multi-arts center supports artists' independence within an interdependent community. The community provides the artist access, arts management innovation and non-profit enterprise. The center's vitality to the arts landscape hinges on its ability to provide a home for the critically neglected artist, the unknown artist, the upstart artist, the next 'big thing' artist and the well-known artist.

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• Charles   and Dee Wyly Theatre
    Dallas, TX
• Architects:   The Office for Metropolitan
    Architecture / Kendall/Heaton Associates, Inc.
• The   Charles and Dee Wyly Theatre is the first-ever performing   arts facility with a vertically stacked program in which   non-performance spaces (i.e., rehearsal, costume/makeup   rooms, offices and lobby) are stacked above or below   the theatre.  It will also be the most flexible   performing arts venue designed to date, with components   (i.e., balconies, stage, proscenium) that can be moved   hydraulically to create different stage and seating   configurations. Retractable exterior glass walls will   provide both indoor and outdoor theatrical experiences.   When the walls are retracted, the facility becomes an   open-air theatre, allowing audience members to see out   to surrounding areas and pedestrians to see in. This   project, which will be part of the Dallas Center for   the Performing Arts, encompasses approximately 75,000   square feet and will seat up to 800 people. The design   of the theatre demanded that the MEP/FP systems be as   flexible as possible. As stage and seating layouts are   rearranged, the MEP/FP systems need to move with them.   This flexibility is achieved by underfloor air distribution   plenum, which utilizes a displacement ventilation concept.   Energy conservation techniques were also incorporated,   including a radiant floor system, heat recovery system,   and low temperature and low volume distribution for   support areas.

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• A view of the newly restored Hanna Theatre in September. A workman stands in the pit of the fully flexible hydraulic thrust stage.
• The architects made sure that no seats are farther than 62 feet from the central point at the front edge of the stage. That tight dimension gives the theater its intimacy, clarity and compression.
• You can also linger afterward and mingle with actors in the lounge areas that flank the bar. I think these possibilities make the Hanna renovation revolutionary, don't you?

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• VSEVLOLOD MEYERHOLD (1874-1940) inspired generations of artists with his bold and innovative theatrical productions. His experimental techniques have been compared to the avant-garde work of artists like Pablo Picasso and Salvador Dali.
• By the Revolution of 1917, Meyerhold had become a prominent figure in Russian theatre. He began to develop the system he called “biomechanics,” a method of training actors that could also be adapted for performance on the stage. Biomechanics was inspired by traditional theatrical forms like Japanese kabuki and Italian commedia dell’arte. It focused on the body, exploring its possibilities and limitations, unlike Stanislavsky’s techniques, which tried to activate the emotions and memories of his actors. Meyerhold’s productions were marked by the heightened and stylized physical gestures that Biomechanics inspired.

• 3 & 4 row code bleacher seating
• Featured is 3 and 4 row Code Bleacher Seating . They  are portable, durable, economical and maintenance free,  great for indoor/outdoor use, ideal for gyms, swimming  pools, tennis courts or any other small groups. Available in  galvanized steel or lightweight aluminum, standard lengths  of 7'6", 15', 21' and 27'. Custom lengths are also available.
• Tip-n-Roll Bleacher Seating
    These versatile units can also be made portable with our  tip-n-roll system. This system includes nonmarring  (NoMar) castors and skids. Two 4" casters are bolted to  the rear of each bleacher frame allowing the unit to be  tipped and rolled. NoMar skids are provided on the  bottom of each frame of bleachers to prevent damage to  wood or rubber flooring. This allows the bleacher seating units  to tip up easily for relocation of efficient storage.
• Code Compliant
    3 & 4 row Code Bleacher Seating are 30" or less in  height, therefore guardrails, aisles or special decking are  not required by code.
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• Elizabeth   Eriksen Byron Theatre
    designed by William Temple Davis
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• The Performing Arts Complex consists of the entrance lobby, main auditorium with orchestra pit, stage with fly loft, back stage, flexible theater, scene construction area and an outdoor amphitheater with stage area. The highly efficient concept of organizing the performance spaces back-to-back with the stage and backstage in the middle (serving both) was prioritized over the connection of the flexible theater to the lobby. The flexible theater, a “Black Box” theater of square proportion with a wooden dance floor and no fixed seating, is accessed through the school courtyard. Through a tension grid covering the ceiling it allows for flexibility in the use as an intimate experimental performance space and also serves as green room and back stage for the amphitheater.
  The main theater with fixed seating for 957 visitors in a stadium seating arrangement with a height difference of 27’ from the highest to the lowest point is a performing arts theater with variable uses, which range from drama (spoken word) and electronically amplified activities to orchestral performances. In response to the intended uses a concept of ‘variable acoustics’ is employed utilizing heavy drapes in the space, which can be drawn when it is preferable to shorten the reverberation time such as for spoken word.
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  In addition, overhead ceiling and wall reflectors, the Clouds - convexly curved elements covered in hard, smooth plaster - reflect the sound from the performers on stage into the auditorium. Hung in space in an array of curves along the ceiling and walls the clouds serve both as acoustical and space defining elements, behind which the exterior walls and all other exposed technical built-ins, such as lighting catwalks, curtains and ducts recede into the background, which is painted in dark midnight blue. Each cloud has a plastered, curved front and an acoustically transparent back area of expanded metal panels. This acoustically transparent area was invented to give the clouds enough surface area to visually enclose the space while being non-existent from an acoustical perspective. The transparent areas are also used to further integrate technical installations such as mechanical registers, sprinklers and lights. Next to the background color of dark midnight blue (which was chosen over black to create a more precious atmosphere), the clouds of smooth natural colored plaster and expanded metal panels of clear coated raw steel, the space is dominated by seats with precious ebony colored wooden backs upholstered in a bright theatrical red on an exposed concrete floor.

         

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