Stage Right pp 87-104 | Cite as

Set in Rooms

  • John Bull


When a director sets out to offer an audience a production of, say, Pinter’s The Caretaker, s/he does so after collaboration with the stage designer and technical staff — all of them guided heavily by what the playwright has given them in the printed text towards an agreement on the nature of the space in which the dramatic events will be enacted. In this instance Pinter has given them very specific guidance, to the point effectively of direct instruction, about the nature of the room the audience will see as the play starts. Everything is carefully positioned, a map could almost be drawn.


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  1. 1.
    Howard Brenton quoted in Catherine Itzin and Simon Trussler, ‘Petrol bombs through the proscenium arch’, Theatre Quarterly, V, no. 17 (1975).Google Scholar
  2. 2.
    John Lahr, Prick Up Your Ears (Penguin, 1980), p. 315.Google Scholar
  3. 3.
    David Edgar, ‘Theatre and fiction’, The Second Time as Farce (Lawrence & Wishart, 1988), p. 165.Google Scholar
  4. 4.
    Michael Billington, Tom Stoppard (Macmillan, 1987), p. 147.Google Scholar
  5. 5.
    Jill Dolan, The Feminist Spectator as Critic (Ann Arbor: UMI Research Press, 1988), pp. 3–4.Google Scholar
  6. 6.
    Susan Bennett, Theatre Audiences: A Theory of Production and Reception (Routledge, 1990), p. 105.Google Scholar

Copyright information

© John Bull 1994

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  • John Bull

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