Understanding the theatre space on both the practical and theoretical level is becoming increasingly important to people working in drama, in whatever capacity. Theatre architecture is one of the most vital ingredients of the theatrical experience and one of the least discussed or understood. In Architecture, Actor and Audience Mackintosh explores the contribution the design of a theatre can make to the theatrical experience, and examines the failings of many modern theatres which despite vigorous defence from the architectural establishment remain unpopular with both audiences and theatre people. A fascinating and provocative book.

Understanding the theatre space on both the practical and theoretical level is becoming increasingly important to people working in drama, in whatever capacity. Theatre architecture is one of the most vital ingredients of the theatrical experience and one of the least discussed or understood.
In Architecture, Actor and Audience Mackintosh explores the contribution the design of a theatre can make to the theatrical experience, and examines the failings of many modern theatres which despite vigorous defence from the architectural establishment remain unpopular with both audiences and theatre people. A fascinating and provocative book.

eBook available with sample pages: 0203359011

In this lavishly illustrated hands-on account of the creation of new theatre spaces spanning a century, Iain Mackintosh offers a compelling history that is part memoir, part impassioned call to rethink the design of our theatre spaces and the future of live theatre. As the originator of theatre designs as diverse as the Cottesloe in 1977, Glyndebourne in 1994, the Orange Tree Theatre in 1991, the Martha Cohen Theatre in 1985 and the Tina Packer Playhouse in 2001, he discovered why the same show worked in some theatres but not in others. It is this unique blend of experience that informs this account of many of the best-known theatre spaces in Britain, besides many international examples including the Guthrie Theater, Minneapolis and the Oslo Opera House. Running throughout is a consideration of factors which have shaped design thinking during this time and which demand attention today. After the long theatre closures driven by the Covid-19 pandemic, Mackintosh argues that now is the time to discover the routes travelled over the last century. Published in partnership with the Society of Theatre Research, the book features a foreword by Sir Richard Eyre, Director of the National Theatre, 1987-1997.

In this lavishly illustrated hands-on account of the creation of new theatre spaces spanning a century, Iain Mackintosh offers a compelling history that is part memoir, part impassioned call to rethink the design of our theatre spaces and the future of live theatre. As the originator of theatre designs as diverse as the Cottesloe in 1977, Glyndebourne in 1994, the Orange Tree Theatre in 1991, the Martha Cohen Theatre in 1985 and the Tina Packer Playhouse in 2001, he discovered why the same show worked in some theatres but not in others. It is this unique blend of experience that informs this account of many of the best-known theatre spaces in Britain, besides many international examples including the Guthrie Theater, Minneapolis and the Oslo Opera House. Running throughout is a consideration of factors which have shaped design thinking during this time and which demand attention today. After the long theatre closures driven by the Covid-19 pandemic, Mackintosh argues that now is the time to discover the routes travelled over the last century. Published in partnership with the Society of Theatre Research, the book features a foreword by Sir Richard Eyre, Director of the National Theatre, 1987-1997.