|Theatre of Dionysus - Athens|
The way in which the modern day venue has been constructed serves to create a greater connection between the performers and the audience as opposed to the audience connection in a more traditional indoor proscenium theatre. In this outdoor amphitheater, the actors spread throughout the entire space of the venue, wondering in and out through the stairways of the seating area, interacting with the audience and immersing themselves in the same physical environment whereas at an indoor theatre the actors would remain only upon the stage and would consistently maintain the concept of the fourth wall (wherein the actors pretend that the audience is not even there) never creating any rapport with the spectators. What makes the performers of the Oresteia trilogy especially appealing is the continued custom to interact and involve the children members of the audience within the storyline, such as asking for their assistance in performing feats. In one instance, the characters’ get the assistance of a young girl in the audience to be the mighty Queen of the Amazons, Hippolyta, in order to arm wrestle King Agamemnon for the rights of women voyagers being allowed to journey with the men on their way to the city of Troy to rescue Helen.
|The Scoop Theatre- London|
|Orestes being chased by the Furies.|