ABSTRACT
Space, for the designer, is both an abstract concept and a hard reality. It is the designer’s job to defi ne the space in which the performer does his work.
The stage, regardless of its confi guration, functions as an optical focal point, and creates the impression we are looking through this lens into a boundless space beyond. In fact, for most spectators, it is the apprehension of space that may be the most profound and powerful experience of live theatre although, admittedly, it is one that is most often felt subconsciously. 1
The volume of space the designer begins with is full of possibilities.
