Anthony Quayle, Artistic Director of the Shakespeare Festival 1948-56, extended the stage with wings in front of the proscenium and extended the dress circle (which had been "set so far back that you were almost sitting outside the theatre") (18) with boxes at the sides and another row at the front; Peter Hall, Director of the rechristened Royal Shakespeare Company from 1960-66, raked the stage and added an hexagonal forestage
; Trevor Nunn, Director from 1968-1986, tried out Jacobean galleries running through the proscenium arch and across the back of the stage.
Repertoire was worked out on Symphony Hall's unattractive, unadorned forestage
backed by the Royal Ballet's Symphonia (lyrical violin playing from its leader, Robert Gibbs) and its conductor Aaron Sherber -a man devoid of charisma, who managed (by playing it in the slowest speed imaginable) to turn Sibelius's Valse Triste into Valse Funebre .
Samuele, a patrician who had already garnered the gratitude of Goldoni for having lodged him in his home, married Catterina Loredan, the Doge's only granddaughter: among the friends that Mocenigo invited to the great wedding banquet held in the Ducal Palace was also the author of L'Amor della Patria, who on that convivial occasion also had the opportunity to make a sort of forestage
parade among the patricians, who overwhelmed him with courtesies.
The theatrical benefit night was a tradition established in London, where benefits also often drew large numbers of "quality" and involved constructing boxes for the ladies on the forestage
or in the pit (Scouten lxi-lxii).
Consequently, at a time when the depiction of violence in visual media assumes forestage
in critical debates, the close connection between identity, violence and narrative makes a study of violence and cultural production imperative.
Editing might contrast forestage
and backstage spaces, but only the duration of a take and the mobility of the camera can pass continuously from one behaviorally-defined space to the other.
Built in 1966 as a multipurpose theater, the Loretto-Hilton features a forestage
thirty-one feet wide by thirteen feet deep in front of an upstage area fifty-eight feet wide by twenty-one feet deep.
The sliding scrim panels allow the action to spill from behind the screen onto the forestage
, for projected images to overlap the bodies of living actors, and for a crisp division of foreground action from the gauzy upstage landscape of half-seen imagery - the roots of history and memory.
Delayed completion of works to the Place Ovale (a monumental but crude hippodrome of housing enclosing a floriferous traffic roundabout) has however meant that the panoply of embellishments and finishes planned by Fiszer for the stepped approach to the parvis or forestage
of his civic cultural monument (plinths, sculpture, uplighters, and so on) has not yet been fully implemented.
But we suspect it was found necessary to place the Monkeys' Dance where the score has it in order to allow time for setting this exotic scene--and six dancers cavorting about on the forestage
could make a useful amount of noise to mask what was happening on the darkened scenic stage behind the proscenium arch.
From an electronic corpus of 72 plays written between 1661 and 1674, Keenan extracts a wealth of data that challenges three longstanding tenets of Restoration theatre studies: that four sets of backshutters were located upstage of the proscenium; that there were two doors on either side of the forestage
; and that the forestage
alone was used for performance, with actors discouraged from straying up into the scenes.
He put his adaptation of Young Werther on the forestage
in front of the Maxim Gorki Theater proscenium, going so far as to design a backdrop "curtain" that was indistinguishable from the diamond-patterned decor of the theatre walls.
For the set, Kiara Zieglorova has enlarged a photograph of a woman's face to form a scrim dividing the forestage
and upstage areas, and placed enough convincing-looking funeral parlor furniture around to ensure the actor doesn't look too isolated on the big Everyman Palace stage.
But, in the scenes of the past, these boundaries are broken, and characters enter or leave a room by stepping 'through' a wall onto the forestage
." (5) Sam Shepard uses simultaneous sets in Fool for Love and A Lie of the Mind, and even Beckett thought of using one in his unproduced play Eleutheria, written just before he started writing Waiting for Godot.