Stage

The Stage is more than a physical location — it’s the relationship between Players and Audience. Each configuration creates a different kind of intimacy, changes what sight lines are possible, and shapes where Players can enter and exit. Knowing the stage you’re working with is the first step toward fearless staging.

Proscenium

The Proscenium is the most familiar configuration: the Audience sits in forward-facing seating while the Stage is framed in front of them. An apron separates the Audience from the Stage, and that apron area can also seat an orchestra.

Usually found in:

• Auditoriums
• Theatre Buildings
• Opera Houses
• Outdoor Theatres with fixed seating

Players enter from the back and sides, depending on the set design.

Arena

In Arena staging, the Audience sits on all four sides facing the Stage. A semi-formal apron encloses the Stage, and there are usually four set aisles at the corners for Players to enter and exit.

Usually found in:

• Theatre Buildings
• Sports Gymnasiums

Players enter from the back and sides, depending on the set design.

Theatre in the Round DT:FC Favorite

Theatre in the Round places the Audience all the way around the Stage, with an informal or open circular space at the center. It’s the DT:FC Favorite because it creates immediate intimacy — every seat is close, every face is visible, and the energy flows in all directions.

Usually formed in:

• Multi-Purpose Spaces
• Gymnasiums
• Conference Rooms

Players enter from the back and sides; sometimes they are seated in the Audience before stepping into the playing area.

Thrust

The Thrust Stage extends the playing area forward into the Audience seating. Audience members sit on two sides facing the Thrust extension, while the back of the Stage remains a backing wall or set. There is no formal apron area.

Players enter from the back, sides, and aisles — the extended stage makes aisle entrances especially dynamic.

Unusual Configurations

Not every performance happens in a dedicated theatre. Unusual configurations embrace wherever Players find a performance space.

Multi-focus: The playing area is distributed across various locations — for example, at horizontal ends of a rectangle or on a balcony. The Audience’s attention shifts to wherever the Players are active.

Found Spaces: Players identify a performance space within an existing environment and make it work — a hallway, a courtyard, a lobby.

Touring Companies adapt their staging to each venue they visit.

Pop-up Events create temporary performance spaces in unexpected settings.

Street performers bring theatre directly into public life, with no separation between everyday space and playing space.

Sight Lines

“Sight Lines” are the lines of vision connecting each Audience member to the Players — and the Players back to the Audience. Every configuration creates its own sight-line possibilities and limitations.

Key principles:

• The Audience must be able to see everything at all times — staging choices that block sight lines break the connection.
• Players and Audience both adapt to the configuration; awareness of where you are in relation to every seat matters.
• Exits and entrances depend on the configuration — understanding sight lines helps Players move cleanly and intentionally.

When staging a scene, the Facilitator walks the space from multiple vantage points before the Players arrive, so every sight-line choice is intentional.