Discussion type of stages

Proscenium Theatre Setup Affiliation The proscenium stage Despite the proscenium stage being the most common type of a theatre stage for centuries now, I still prefer this setting than any other. Proscenium stages have a large arch (proscenium arch) through which audience can see the performance. The audience faces the stage directly and can view one scene side.
Proscenium stages visually allow a much more thrilling approach for creation of stage images. Their depths allow for perspectival effects, something impossible in other stage settings. The distance they allow between audience and actors deem them the best theatrical of spaces.
The space left behind a proscenium is fashioned to be packed with scenery and flats for elaborate sets but it is not necessary. When it is left empty, it symbolizes an eloquent empty space and in its vastness and hollow cavernousness expresses choices not made, memories, and uncreated illusions (Puchner, 2007). There is an overwhelming feeling watching characters on this set up create their fictional existence in front and inside this purpose-built cave.
With all the proscenium theatre effects, the time an actor takes walking across to downstage, effects of rather murky little figures emerge into the brightness from the gloom, extraordinary light quality on a proscenium stage, and fog effects among others are a genuine marvel and purely a theatrical wonder. This theatre setup is dumb striking and amazing specially the effects of an empty proscenium.
The stage makes provisions for an actor to stand between the greater stage expanse and the auditorium thresholds, a virtual space where we can only glimpse, but not enter physically awarding them a liminal position and a magical sphere to speak right at us (Puchner, 2007). Personally, there is nothing comparable to Proscenium Theater. It is the ultimate theatrical high. It does not take much as well, just an arch, a lot of space and a great actor.
Puchner, M. (2007). Performing the open: actors, animals, philosophers. TDR/The Drama Review, 51(1), 21-32.