Abstract
In the cultural catalyst brought forth by the nature of architecture as a performance space, there exist the two distinct parties of spectator and performer. The two holds a kind of intimate yet conventionally distinct relation and the duality between the dichotomies can be further examined in greater detail. Once such a relation is established, it is possible to alter the specific environment within the controlled realm of the theatre space, and then discovering how such a kind of perceived divide of space can be manipulated or dispelled through the altering of relation between the spectator and performer. Hence, rather than confining them within a static environment, one can go beyond their confines to establish the manner which they can impact the urban environment through breaking apart the conventions of the performance boundaries. By examining vernacular examples of theatre in ancient civilisations and the manner in which their treatment of performance differed from the conventions, the theoretical breakdown of the different boundaries of a play environment, as well as questioning the role of the spectator and their participation in their performance, certain typologies emerge. The performance can be viewed as an extension of the landscape, as a community, and as an immersion. The spectator, on the other hand, can possibly breach the fourth wall divide, merging into the process of performance, participating in the deconstruction of the performance, and forming the reality of the performance. Such principles will be applied to the local context of the cultural scene, delving upon how the nature of performance has evolved as an extension of the urban landscape as well. Thus, a new collage of architecture is conceived, experimental in its conceptualisation in creating a new theatre landscape within Singapore.