Technology and Theater

We’ve seen a handful of productions at Schaubuhne, each more impressive than the last. I will not write this post pretending that I know how to put into words the revolutionary work that I have seen at Schaubuhne, specifically with Beware of Pity. My gut, my eyes, and my mind agree that this is IT.

After our tour of Schaubuhne, the theatre space alone felt much like a hi-tech spaceship. The engineering is mind-blowing. The theatre stage is sectioned off into platforms that are operated using a hydraulic system allowing for different stage configuration as well as weight distribution! I am by no means a set designer, but ANYTHING seems to be possible at Schaubuhne.

Beware of Pity certainly took advantage of the impressive construction of the theater. I have never seen a ceiling close in on stage before—perhaps that isn’t impressive to most people...but I was beside myself and felt claustrophobic in that last moment. However, with all of the hi-tech options at the production's disposal, I felt that the work was grounded and simple. Simple in terms of specific and steering clear of any convoluted spectacle.  Every choice served the story, regardless of its “hi-tech” nature. The themes of pity, love, and duty were prevalent and not overwhelmed by visual stimulation. I enjoyed the juxtaposition of the screen projections with the found-object puppet manipulation of Edith’s dress as well as the actor-made sounds (mind you the actors had microphones).  I felt the production successfully combined live theatre, as we perceive it, with a cinematic quality through the use of technology. I’m interested in that reality. Where technology allows us to take live-performance and use similar concepts to filmmaking to surpass what audiences know live-theater to be. For instance, the sound intensity in the productions we’ve seen at Schaubuhne were movie-theater worthy.

I suppose I’m interested in discovering the direction of theater in relation to technology (I know the Wooster Group has a specific exploration of technology with live performance).  Should we underscore an entire live production much like a Hollywood blockbuster? As theater-makers why not use technology, unapologetically, to our advantage? I’m certainly not suggesting we compete with movies or continue to produce Broadway spectacle. Beware of Pity presented a palpable story, first and foremost, enhanced by the specific use of technology that appealed to my senses on a profound level.