Understanding the theatre space on both the practical and theoretical level is becoming increasingly important to people working in drama, in whatever capacity. Theatre architecture is one of the most vital ingredients of the theatrical experience and one of the least discussed or understood.
In Architecture, Actor and Audience Mackintosh explores the contribution the design of a theatre can make to the theatrical experience, and examines the failings of many modern theatres which despite vigorous defence from the architectural establishment remain unpopular with both audiences and theatre people. A fascinating and provocative book.
'Mackintosh's considerable achievement is to turn what might so easily have become simply anecdote or a display of professional partiality for this of that form, into the subject of a detailed historical analysis, pursued with rigour and architectural understanding.' - Theatre Research International
'Thank goodness for this visionary book. … if we wish to build playhouses which help provoke the energy, buzz and interaction of good theatre … this enthralling and truthful book provides a marvelous foundation stone. Read it. Build on it … This is also the best book on theatre buildings, I have seen for A Level Theatre Studies, students.' - Mark Howell, Theatre Notebook
'Environmental theatre history at its best: analytical, informed, involved.' - Michael Coveney, The Observer (1993 'Books of the Year')
'Iain Mackintosh knows things about the mystery of the theatre that nobody else does. And because he writes with charm and passion we can know them, too. This is the best book on how architectural environment affects our work since Peter Brook's - The Empty Space -
'Thank goodness for this visionary book. Read it. Build on it.' - Mark Howell, Theatre Notebook
'The most informed historian and the most able consultant on the theory and practice of theatre design in Britain … Mackintosh's book is for all of us, the 'Coles notes' of theatre design … without question, required reading for anyone engaged in building theatres, but more than that it is simply a jolly good read for all artists concerned with the development of good theatre.' - RADA Magazine