Due March 12
Tour attendees: Khalil, Brian, Amanda, Gordon, Tsumugi, Mauricio, Ashley, Taylor, Brandon, Chris, Chi, Jairo, Edsel, Rebecca, Stephanie, Michael, Sarah, Jian Wei
During the tour of St. Ann’s, we walked through a number of spaces to be used in different ways by different people. The designs, layouts and architecture of the spaces often tell the human being in the space how to use them — in other words, they were “spatially coded.” Most of the spaces did not have signs explaining how to use the space, and yet we know what they mean because we have cultural knowledge about social expectations according to architectural, interior, and theatrical design. Lighting, sound, walls, stairways, tables, seating, set design, screens, blackout curtains, doorways — every object and material aspect of a designed space informs our behaviors.
In two full paragraphs, describe at least three of these different spaces as you experienced them on the tour and during your experience at the theater for the performance. Which design aspects indicated to you how to behave in the space? How? Was there a difference in how you were expected to behave on the tour and during the live performance? Why? How were boundaries between social spaces marked, and what changes in your behaviors did you have to make when you crossed the threshold into the new space? How did you feel when you were close to a boundary? Were there any spatial crossings that made you uncomfortable? Why? Â
The transformation of St.Ann’s Space is something I find quite fascinating. Some spaces that were visited during the tour as well as the live performance were the lobby, The backstage/side entrance, and the auditorium. During the tour, St Ann’s was pretty empty and silent. The setup of the tables was the same as the day of the live performance, there were less employees, and the bar was empty. During the Live performance, the lobby was packed full of people, there were much more employees overall, and the key difference that I saw was that the bar was open. Something that indicated that the space was open for the event was the bright lights of the bar sign. During the tour we were able to look around and observe almost all of the space, however, there is a clear boundary when an employee is there, snacks are available on display, and the sign glows bright red indicating it’s showtime.
I believe the backstage area was set up the same both for the tour as well as the live performance. There were no inanimate objects like line ropes or objects other theater’s may use to block people off, however, the boundary was set with three employees. It was clear that anyone other than employees or actors were not able to pass through freely like the tour. The employees were there to scan tickets and act as a guard for the back of the house. The space definitely felt like there was a wall there.
Lastly, the auditorium and stage were set up the same as well physically. The key difference between the tour and performance was the lights. For the day of performance, the auditorium was extremely loud, similar to a school cafeteria until the lights were dimmed all around and the spotlight brightly focused on the stage .The lights are also a key indicator that all your attention should be where it is pointed to. Also, the stage felt sacred, during the tour as well as the performance day. We were allowed to look at it in different circumstances, but it felt as if it was only meant to be touched or walked upon by employees/actors. This is partially due to the setup but also our cultural expectations.
When walking into the theater it was immediately apparent how its design nudged us towards certain behaviors. The huge welcoming space with many seating areas scattered throughout suggested that it was a casual gathering spot. Even without the signs, you can clearly tell where the bar was to the right, and the ticket booth in front. The high ceiling cover by the catwalk shows how this front lobby can also be repurposed into a stage area. As for the actual show, people in the lobby start to quiet down as they start to approach the stage for directions.
When the time came for the tour and the actual show, you can see the difference in spatial boundary when walking into the seating. They used a huge black curtain/partition to separate the backstage crew and a different path where we are supposed to go. You would know where to go since the paths are laid out for you with a stationed ticket checker and crewmember guiding you where to go. When it came to the actual performance, the dimming of house lights and the speaker walking up to the stage universally signaled the need for silence and attention and the beginning. Comparatively, during the tour, when the house lights were fully illuminated and the stage was empty. The same space felt more like an open area inviting exploration and conversation about the theater’s architecture and design features. When it came to the backstage tour, it felt constrainting but not in a bad way. We understand that we can’t touch any of the machines or props in case we don’t mess up the show. But felt curious as we got to see the inner workings of the rotating stage mechanism and explanation of the backstage area.
I did not feel uncomfortable about the spatial crossings. The boundaries between social spaces were marked by curtains performance area and back stage. As i entered I felt thrilled. and welcomed. Everyone was talking to each other before the performance and the waiting area. There was no talking during the show everyone was paying attention and watching the show. i knew it was proper etiquette not to make noise.
We were allowed backstage during the tour of the theater. The day of the show we were not allowed backstage. As the show was going on I knew not to talk in that space. I did not want to interrupt the performance. The seats and the entrance area were set differently. They were not in rows but circles and groups.
St. Ann’s Warehouse has a unique yet pleasantly minimal design in its layout. Particularly, the part that it is a modular theater and that they are able to change the layout of the entire theater if a set redesign were to happen. As every theatre is organized, there is a ticket booth/ waiting area. What also gives the theatre special disposition is that there is sort of a minimalistic theme. Its walls are brick and made of bare plywood with no paint. Black is often used to conceal which includes the inside walls of the theatre and the catwalks in the fly-trap. This design in minimalism could be due to the fact that it is a modular theatre, and anything too decorative and fancy would get in the way of set designs.
When you first walk into the theatre, it appears much larger than it is outside. There is an open space with a ticket booth at the back, with a cafe to the right. This immediately would be the waiting area where attendees can relax before the show. When it is time to view the show, you walk into the aisle. This area has no signs and is masked by but this one-way entrance/exit traverses into the seating area. Inside the theme of black continues into a proscenium where the audiences chairs, walls are also encased in black. The black gives sensitivity to being quiet while the audience itself (mainly comprised of older adults) defines a mature setting. Although what appears to the viewers may seem bare, the theatre itself is actually very complex. You can tell that design of the theatre was carefully orchestrated and that the design was intentionally minimal to be easily comprehensible even for novices.
The first space I entered during both the tour and performance was the front of house lobby area. Although during the tour it was lit with neutral and natural light, during the night of the performance it was lit with the overhead lighting fixtures to a soft warm toned light. The area was furnished with soft couches and tables with bar chairs, which combined with the lighting gives the space an inviting and social feel to it. There is not a lot of seating in the lobby space, which invites people to walk around and socialize while standing in the wide open floor space of the lobby. The boundaries between the spaces in this theater were marked by black curtains which made the space clearly divided for both audience and theater staff members. The next area I entered was the actual theatrical space of the theater, where there was a wooden stage placed in front of an audience seating area. During the performance, there was pre-show sound playing in the theater; the sound of children playing and talking in the distance echoed throughout the space while it was empty. Before the performance, the behavior of myself and other audience members did not change very much from that of the lobby, with people still socializing while getting settled in their seats. However, as soon as the lighting of the theater dimmed the audience stopped all conversation. The dimming of the lights indicates the start of the show, which cues the audience to shift their behavior from the social one from the lobby into focusing on the performance instead.
The third space I visited only during the tour was the backstage area of the theater. It was separated from the other areas with black curtains as well, but had different distinct areas within the whole backstage. Some of the boundaries were not completely clear, but the props and stage control area right behind the stage had tape and curtains to separate it from the rest of the backstage space. I personally felt nervous when touring this space because it felt like an area that I wasn’t supposed to be in, but also very excited for the same reason. I noticed that the space was designed for function rather than to evoke any specific emotional or behavioral response. Everything in the space was clearly labeled and extremely organized. One thing that I noticed was that even the flats that make up the semicircular brick wall behind the stage were each labeled with their measurements written on them. This function focused space gave me a feeling of professionalism as well, and I hope to be able to construct and organize a similar backstage space in the future.
Jeremy Perricone | D276
Unfortunately I was unable to attend the St. Ann’s Warehouse tour, although I have been backstage in other theaters before and have been to numerous other performances that I can compare this one too. When you are either working on a show or on a tour of a theater, it is acceptable to go backstage and take a look around. It is open space for you to walk around in. However when you are instead an audience member on the day of a show, the backstage area is completely closed off. The staff let you know it’s off limits by standing in front of entrances leading backstage, and closing curtains, which hide it from view. When something is hidden, you can presume you are not supposed to snoop around the hidden areas, as is the case with many other types of establishments. Another example of the experience of a theater being different when you are an audience member is people’s behavior when a show starts. When standing in the house any other time, no one would find a problem with talking as loud as you want. However when a show is starting, everyone (at least, the people with manners) quiets down. People know when to quiet down because of when the house lights dim. When they dim, you can presume the show is starting and it is time to be quiet and hear the actors. It’s something that is culturally ingrained. Most people have been to the movie theater before, and the same type of thing happens. When the lights go down, the movie starts, and it is time to be quiet. St. Ann’s Warehouse has the same type of seating arrangement as a movie theater, so even those who have never seen a live performance before could understand the message of dimmed lights.
However, the bar and lounge area before you walk into the stage area has the same feeling as it would any other time. It is separated from the stage so you would not feel the need to be as quiet as you would when watching the show. Perhaps right before a show the place is more lively, though that mainly has to do with the number of people rather than the architecture. It is a large open room separated from the performance space, therefore it would be more socially appropriate to speak.
Jianwei shi
When I watched the show at the theater, the show was to show you the way to behave in the space with the design aspects of the stage, the trapdoor and the booth. Although these three spaces do not seem to have any similarities, they play a very important role in the performance. As the actors performed, technicians controlled the show lights and sound, cueing which stage of the show they were supposed to be in. They came on stage from stage left, right, and back, and performed their dances from stage left, right, and front, and what struck me most was when the actors appeared through the flap door into the glass room.Touring and during the live performance shows require different things from us. This is different from touring because touring is similar to performing in the street, you can take pictures with your cell phone and it doesn’t give us any sense of shock, instead it makes us feel like there is an event and festival going on. The live performance is in a house, it’s pitch black, you can’t use your cell phone, and it gives us a sense of shock and oppression during the show, and we unconsciously concentrate on what’s going on on stage without being disturbed by anything. In short, the purpose of a theatrical performance is to show you how to behave in a space through the design of the stage, the trapdoors, and the booth, and to better help the audience focus on the performance on stage without distractions.
Such theatrical performances delineate social space through the established conventions of modern realist theater, as they do so by pointing directly at the audience and by fictionalizing the play as a drama or character. Like when we watched a live theater performance this week, my feeling as we entered the theater space was that the audience empathized with the characters in the play. It’s like watching a theater performance where you can picture the performance in your mind, but you can’t accurately experience the feelings and emotions of the characters in the story, and that empathy allows you to better understand and feel the emotions of the play. Especially the feeling when you approach the boundaries, what struck me the most was the loneliness of a little girl spinning in a glass case as she made a present or the rejection by one’s favorite teacher, both of which allow you to show the experience of real or imagined events in front of your congregation. One of the most uncomfortable parts for me was the end of the finale, where the death of Brenner’s pet dog, the mental breakdown that led to Brenner, and the final reconciliation with the little girl felt like jumping from the beginning to the end of the movie, losing the important part in the middle. In particular, we don’t know whether the shadows in the glass room at the end represent real people or demons in Brenner’s mind. In conclusion, theater performance delineates the social space through modern realistic drama, which can better allow the audience to empathize with the characters in the play and allow you to better understand and feel the emotions in the play.
Nestled in Brooklyn Bridge Park, the theatre brings in guests and artists from all over the world. The 25,000 sq. foot theater is able to accommodate big and small audiences due to its modular design.
The warehouse could be split into three area categories at our time of visit. The was the public space which housed the lobby and ticket office, the semi-private where the play was located, and the private space where the back of house operation were located. Each area had its own unique aura when I was in them. Aiding it it’s design, the lobby was open and inviting with the use of warm wood panels and vibrant couches to contrast the black wall holding the ticket booth.
As you journey into the theater space, it becomes muted with black walls and curtains all around. It’s lightning is not overbearing due to the aid of the glass windows adjacent. The room feels like it is time to teleport to a place that is not the one we are currently in but a new location to discover. Especially with its use in the play “The Hunt”, we are mere spectral beings that are observing the events that are occurring.
During the tour, we were blessed with the opportunity to see the current backstage of the theater for this production. It was very telling of the current productions usage to how much more the building could hold. Everything was carefully arranged so that every item had its specific spot so I tried to be extra alert with where I was going to not disturb anything. The modulation was evident with forklifts and wooden boards to accommodate the creation of more rooms if need be. The use of black is beneficial as an area could be hidden behind a curtain and the guests would be blind to the depth of space. St. Ann’s Warehouse is a wonderful example of how a space can be transformed for a global audience.
The difference in atmosphere from the tour and the live performance was drastic in my opinion. The lighting of the lobby was bright and the time of day being afternoon gave the tour a casual and formal vibe to it, the best way I can explain it is walking through a museum, whereas in the evening, the lighting of the lobby during the live performance was dim which felt very relaxed and cozy. Though the lighting and moods were different, they still indicated how we were supposed to behave, they’re both settings you wouldn’t want to be loud or disruptive. However, the expectation of our behavior did feel different for both the tour and the live performance.
During the tour, the auditorium was empty, and the stage just felt like a platform for people to get on. I was expected to follow and look around the areas our tour guide took us, another thing is that we were told not to touch anything when we walked backstage. During the live performance, that expectation remained the same when we were in the lobby. When the time came for us to take our seat, the auditorium was very much alive and loud. When the show was about to begin, everyone settled down as they were expected to. As the performance began, the stage that once looked like a platform started to feel like a setting, the lighting really gave life to the stage.
The first space i experienced walking in was the lobby. The room being very well lit, there being a bar in the corner, and people being scattered around the room instantly indicated to me this was a more relaxed and social area. The second space i experienced was on the way to the seating area and it felt more like a transitional space. This is also where i encountered the first boundary between spaces which was a security guard checking our tickets and explaining the rules of the theater which sets the tone as you go into the seating area. Walking towards the back of the second space the lighting starts to dim and huge black curtains on both sides i began to see the theater full of people sitting quietly and felt a bit uncomfortable as you enter the third space attempting to get to your seat as quiet as possible. Once in the third space which was the actual theater/ seating area it felt very comfortable, the cast members were easy to hear, all the visual aspects of the show were easily comprehensible, and the ambiance definitely felt different from when i was on the tour. One key difference in how i felt i was expected to behave during the tour and live performance was the noise. This was definitely more of a social expectation as i didnt notice any signs around saying to stay quiet but i definitely didnt want to be the person ruining the experience for others.
https://docs.google.com/document/d/1UiRzTHmtFA_hGw2dRgouELTBIXHe3UHUYUKpZCfm_E4/edit?usp=sharing
The three different spaces I experienced on the tour were the lobby, the stage, and backstage. The design aspects of the tour that indicated how to behave were seating as well as set clutter. Backstage, theres a lot of props such as costumes, wigs, and makeup, as well as couches. During the live performance, you had to be quiet and pay attention to the dialogue. Some crossings that made me uncomfortable were how small the house onstage was, but thats just a me problem.
My personal favorite space was the stage area. It was very intimate, and yet, spacious. I loved how the actors used every part of the room as their stage and not just using the space in front of the audience. It felt like we were immersed in these characters world, and thats why everything felt more intense.
The first space I experienced was the lobby. There were seats and tables with a bar included in the lobby. Many people are in this area just talking which showed me that this is a social area. I was allowed to socialize and talk using my normal voice or as loud as I wanted. There were boundaries such as the black curtains between the lobby and the second space which is the theatre. The second space was the theatre in which there were seats assigned to every specific person and they were forced to sit there. The space in which the audience sits was small facing the stage where the actors perform. In this space, people kept talking but their voices lowered and socializing began to diminish. Once the play started, the lights went off and everyone stopped talking for the rest of the play. I felt a bit uncomfortable as the shift from talking to being quiet occurred in an instant so i had to adjust quickly.
The third space was during the tour at the backstage separated by a big massive wall that was on stage and the black curtains. The spatial crossing made me feel uncomfortable because I felt that I didn’t belong here as I wasn’t allowed to touch anything. Everything from clothes, written post its, computers were set up for the actors to use and only they could move things around. We were allowed to talk in this space but the whole area is only meant for professional actors and you can visually see and feel that.
Which design aspects indicated to you how to behave in the space? How?
Throughout the tour, it was a modern spacious venue. The black steel interior supporting the foundation of the upper sections of the theatre complemented by columns and rows of brick drowning the space, in vast comparison to modern decals like neon signs and finished oak wood tools and metal bar stools. The space itself was modern yet pained homage to the previous tobacco inspection building. While modern in it’s architecture, it was imperative to remain respectful and professional even in a creative space.
Was there a difference in how you were expected to behave on the tour and during the live performance? Why?
While I could not come to the live performance, I imagined a full venue surrounded by like minded individuals. For us students, I imagine it may feel like a “fish out of water” scenario. In fact, when attending the tour, I found it uncomfortable to be an area as… opulent as Dumbo. Born and raised in Brooklyn, I always feel out of place in renovated areas considering these spaces feel exclusive to those who are wealthy or have power. Despite my concerns, the tour guide was friendly and very informative which helped calm my deafening dread. They are proud of the history’s building and wage to tell its story calmed my thoughts of the venue itself.
How were boundaries between social spaces marked, and what changes in your behaviors did you have to make when you crossed the threshold into the new space?
The boundaries between the main waiting area vs the auditorium are very apparent. The architecture of the old walls allow natural light to shine through the glass doors of the main waiting space. Bar stools and tables, along with an official bar add an air of freedom to explore the space and move around as you wish. However, once you enter the theatre, there is a significant lack of natural light. The theatre is controlled environment with electrical stage lighting, high quality surround sound, an adjustable Blackbox theatre, black cushion seating, and much more. There is a stillness as soon as you walk into the theatre space. There’s no ambiance of the outer city or even nearby chatter. It is nearly quiet and almost deafening. The changed the behavior from casual to what can best be described as “locking in”. The atmosphere has shifted into a stillness and that remains is a beautiful well crafted set piece as you wait for your show to begin.
How did you feel when you were close to a boundary? Were there any spatial crossings that made you uncomfortable? Why?
I never felt to close to a boundary. I always remain in a neutral position within a space. The building itself did not make me uncomfortable but rather the surrounding area. I just felt like I didn’t belong there. However, Ann’s Warehouse perfectly illustrates where these boundaries of behavior should be in place through simple inferencing of the surrounding area. If it looks like social space, it probably is a social space. If it looks like theatre with a stage, it probably ISN’T a social space.
One of the spaces that I experienced through the tour was the hidden entrance that was located underneath the stage. Seeing and hearing how actors go through this space during the show certainly changed my perspective throughout the show. While I was watching the performance, I would actively think to myself “there are people who are rapidly going in and out of that small space we saw during the tour.” Having this thought in mind, it made me appreciate the performance even more so. Another design aspect was all the security that was around the seats at the beginning of the performance. It felt a lot more serious as opposed to our tour of the venue.
Yes, there was a significant difference in expectation of our behavior for the tour compared to during the performance. During our tour visit, it was only us students and teacher which made it comfortable to ask more questions and talk more. As opposed to during the performance, where I remained silent and could not ask questions. A second difference is during our tour, we were allowed to look around areas of the theatre that we did not have access to during the performance.
All graded