Book contents
- Visualising Lost Theatres
- Cambridge Studies in Modern Theatre
- Visualising Lost Theatres
- Copyright page
- Contents
- Figures
- Acknowledgements
- Introduction
- 1 The Rose Theatre, London, and Stage Movement in Marlowe’s Doctor Faustus
- 2 Komediehuset, Bergen, and Henrik Ibsen’s Stagecraft in His First Theatre
- 3 A Colonial Audience Watching Othello at the Queen’s Theatre, Adelaide
- 4 Cantonese Opera and the Layering of Space on the Australian Goldfields
- 5 The Design of Attraction at the Stardust Showroom in Las Vegas
- Conclusion: Visualising the Future of Theatre Research
- Appendix: The Eighteen Scripts of the Underworld
- References
- Index
5 - The Design of Attraction at the Stardust Showroom in Las Vegas
Published online by Cambridge University Press: 18 August 2022
- Visualising Lost Theatres
- Cambridge Studies in Modern Theatre
- Visualising Lost Theatres
- Copyright page
- Contents
- Figures
- Acknowledgements
- Introduction
- 1 The Rose Theatre, London, and Stage Movement in Marlowe’s Doctor Faustus
- 2 Komediehuset, Bergen, and Henrik Ibsen’s Stagecraft in His First Theatre
- 3 A Colonial Audience Watching Othello at the Queen’s Theatre, Adelaide
- 4 Cantonese Opera and the Layering of Space on the Australian Goldfields
- 5 The Design of Attraction at the Stardust Showroom in Las Vegas
- Conclusion: Visualising the Future of Theatre Research
- Appendix: The Eighteen Scripts of the Underworld
- References
- Index
Summary
Chapter 5, on the showroom at the Stardust Hotel in Las Vegas (1958–2006), investigates the international production of theatrical revue for a tourist audience. It exemplifies the modernist design of twentieth-century theatre architecture, with an aesthetic of curved planes and smooth surfaces designed to facilitate the flow of people through performance and level the encounter between artists and spectators. We focus on the initial 1958–9 design, which accommodated the latest stage technologies, including a swimming pool, an ice rink, a waterfall, and a firework show. The Stardust became the venue for the Lido de Paris, the long-running revue, which played in various editions until 1991. Since the showroom was demolished within the Stardust in 2007, our reconstruction illustrates how theatre venues were shaped by the capitalist development of international tourism. Virtual praxis in the model embodies insight into the design of the Stardust showroom as a tourist attraction and the choreography that made a gendered spectacle of international relations.
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- Visualising Lost TheatresVirtual Praxis and the Recovery of Performance Spaces, pp. 127 - 159Publisher: Cambridge University PressPrint publication year: 2022