Sydney opera house original design11/22/2023 Approaching this survey via Edward Casey’s understanding of ‘place,’ my analysis is informed by a range of theories, notably, spatial syntax analysis, discourse analysis, and phenomenology. To undertake this assessment I conduct a tripartite survey of the backstage spaces afforded performers, taking into consideration ‘perceived’ space (space as it is empirically measured), ‘conceived’ space (space as it is represented), and ‘lived’ space (space as it is experienced). Through this thesis I assess the impact of backstage spaces on performers’ work processes, their performances, and their own understandings of what it is to be a performer. As the title of the thesis suggests, my focus throughout is to better understand the ‘place’ of performers, the ways in which performers inhabit certain physical, social, and imaginative realms. This thesis presents a systematic investigation of the backstage spaces of theatres in the city of Sydney, Australia, combining the documentation of eight specific theatre buildings with ethnographic accounts of performers’ activities within them. Indeed, the lighting of performances, it will be asserted, is enhanced through the ability of the lighting of the structure to directly contribute to the idea of the stage and the more traditional theatrical lighting designs deployed to illuminate presentations from ballet to opera to theatre. Thus, as will be argued, the lighting of the building’s exteriors and interiors form an extension of the stage lighting for individual productions presented within the building. This examination of lighting will unpack the link between how Utzon envisaged the interpretation of the physical structure and how this complex set of venues (with spaces seating from around 400 to 2,500 people) would be in concert with the ‘world of the play’. This chapter will explore an under-examined visual aspect of the performances held at the Sydney Opera House: Jørn Utzon’s utilisation of both natural and artificial illumination to reinforce the architectural form and to also shape audience perceptions of the building that surrounds the performance spaces. This icon of the built environment – perfectly balanced between earth and sky is one of the world’s busiest performing arts centres. The building dominates Bennelong Point, a heavy granite base supporting lightweight shells that appear to soar, effortlessly, between the sky above and water below. The Sydney Opera House has achieved fame, not only for its spectacular location and harbour side setting but also for its architectural form.
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