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Threesome? Part 2

This is a continuation of the story found here. Immediately things were a bit awkward. "She knows what we're doing," I thought. Short glances were exchanged between us, sizing up the situation. Simone and I barely revealed hints of smug grins.

Simone suggested giving us manicures. I sat next to Ariel as she filed and polished our nails. We got a bit more comfortable and started joking around a little bit. Simone got up to get the topcoat and Ariel flopped down with her head on my arm.

"I'm so tired!"

It was 3pm. Could she possibly be hinting? I've learned that if there's room to interpret something a girl does as suggestive, it probably is. On one hand we'd only known each other for an hour and a half, but on the other hand she seemed to know what was going on and was onboard.

"I'll make you some tea."

Lost in Space

On Stephen Shelley

~ Peter Brook, The Empty Space

This was written in 1968 by one of the most brilliant minds of the modern theater. I read this over 20 years ago and it is still as relevant today as it was then, if not more so. A performance space need not be contained within a proscenium, nor does it have to have a grid or a flat playing area. It doesn't have to have wings, dressing rooms or even seats, for that matter.

At times throughout history, and particularly since the 1960s, artists have conceived of very dynamic works of performance outside of these traditional confines. But in the last 15-20 years, work of this nature has dramatically expanded. In this study of the evolving notion of the performance space, I will briefly look at the origins of space and the roots of the traditional space. I will then discuss the impact technology has had, and is having, upon the concept of the performance space and then look at some of the exciting ways contemporary artists are forging new ground outside of the traditional structure.

Throughout these essays, I refer to the "traditional space" often. By “traditional space”, I mean a performance venue which has a stage and a section for a seated audience. This includes the classic proscenium stage (which we’re all used to), the thrust stage and theater in the round. The commonality between all of these stages, and which is important for this article, is that the audience is in a passive/receiving mode, and the action - typically comprised of some combination of actors, singers, dancers, a stage, lights and costumes - is played out upon the stage in full view of the audience. This is what I mean by “traditional space”.

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