Theatrical Production....

A theatrical production is any work of theatre, such as a staged play, musical, comedy or drama produced from a written book or script. These works are protected by common law or statuary copyright unless in the public domain.^[1]

These productions generally feature actors, costumes and sets. The history of the theatrical production goes back to ancient Greece.

Theatrical productions vary in many ways. They can be anything from high school as well as college productions, community theatre productions to summer stock and regional theatre productions all the way to Broadway and Kings Road productions. Today's contemporary theatres produce a variety of plays and musicals that attract very different audiences.

In full theatrical productions there are a great number of people working towards many types of shows. A producer acquires financing, hires staff and oversees everything from the beginning to the end of each show. Theatrical staff is separated by department, which varies from theatre to theatre and production to production depending on needs.

The production will employ front of house and back of house staff. In addition to performers, stage hands, stage managers, lighting and sound technicians, many theatres will hire ushers, concessions workers, janitorial and security in mounting a theatrical production.

Theatrical productions may also involve other types of performance exhibitions, which include improvisational, skit and parody performances which involve varying levels of involvement from off-camera staff or assistants in order to create the production

theatrical production, the planning, rehearsal, and presentation of a work. Such a work is presented to an audience at a particular time and place by live performers, who use either themselves or inanimate figures, such as puppets, as the medium of presentation. A theatrical production can be either dramatic or nondramatic, depending upon the activity presented.

While dramatic productions frequently conform to a written text, it is not the use of such a text but rather the fictional mimetic (from Greek mimēsis, “imitation,” “representation”) nature of the performer’s behaviour that makes a work dramatic. For example, a person walking a tightrope is performing an acrobatic act, whereas a person who pretends to be an acrobat walking a tightrope is performing a dramatic act. Both performers are engaged in theatrical presentation, but only the latter is involved in the creation of dramatic illusion. Though a dramatic performance may include dancing, singing, juggling, acrobatics, or other nondramatic elements, it is concerned mainly with the representation of actual or imagined life.

In nondramatic theatrical productions there is no imitation of “another existence” but simply the entertainment or excitation of the audience by the performer. Whether acrobatic or musical, gestural or vocal, such activity is theatrical because it is presented by a live performer to an audience, but it remains nondramatic so long as it has a purely presentational quality rather than a representational one.

In any single theatrical production, one or another type of activity may so prevail that there is little difficulty in determining the aesthetic nature of the final work. A play by the 19th-century Norwegian dramatist Henrik Ibsen, with its depiction of middle-class behaviour, minimizes nondramatic activity; the recital of a song by the 19th-century Romantic composer Franz Schubert, by contrast, with its emphasis upon musical values, may ignore dramatic elements and, to a considerable extent, even the act of presentation itself. Between these two extremes, however, there are many types of theatrical production in which the aesthetic nature of the form is less simple. Opera, for example, employs both drama and music in shifting patterns of emphasis.

In Europe and the United States several forms arose in the 20th century that combine dramatic and nondramatic material. Vaudeville, or music hall, for instance, employs a succession of various acts, such as fictional sketches, musical and dance numbers, and feats of dexterity, of which some are representational and others are not. In the musical theatre, song and dance serve both to further the narrative and to provide a break from purely dramatic presentation. This variety also characterizes much Asian theatre, in which dramatic moments are elaborated in dance exhibitions. In light of these examples, the definition of what constitutes theatrical production must remain elastic.

For a general discussion of theatre as an art form, as well as a specific treatment of the crafts of acting and directing, see theatre, directing, and acting. The aesthetic dimension of a dramatic production is discussed under stage design. Drama as a literary genre is treated under dramatic literature. Drama or dramatic literature is also treated in numerous other articles, including those on the literature or theatre of a specific country or region, of which the following are examples:Western theatre; African literature; American literature; English literature; French literature;German literature; Greek literature; Japanese literature; and Oceanic literature. Other articles that pertain to theatrical production include circus and puppetry.

Table Of Contents

Elements of theatrical production

According to the British director Peter Brook, theatre occurs whenever someone crosses neutral space and is watched by another person. This definition of theatre raises some problems, such as the difficulty of determining neutral space, but it is useful in its firm commitment to demystifying theatrical production. In former times the idea of the actor as motivated by a desire to create astonishment and wonder was sometimes seen as the basis of all theatre. Certainly there are types of theatrical performance that entail ritual and magic, but theatre is far more frequently rooted in attempts to structure emotion and experience.