Editing Theatre-in-the-round (section)

== Power dynamics and audience engagement ==
The political implications of theatre-in-the-round were most deliberately explored by R.G. Gregory. He argued that the lit space of a proscenium arch resembled a seat of power, positioning the audience as passive observers. In contrast, traditional theatre design prioritizes [[sight line]]s to ensure that actors can engage all audience members simultaneously.

However, when actors are no longer framed by the proscenium arch, they are required to turn their backs to parts of the audience, losing exclusive control over the acting space. While every audience member can still see the actor, the actor can no longer maintain visual contact with the entire audience. As a result, for the performance to fully resonate, the audience must become active participants in shaping the meaning of the play.

Some, such as writer [[Mick Fealty]], have drawn a strong analogy between Gregory’s description of the fundamental dynamics of theatre-in-the-round and the [[network effect]] of Internet-based communication, contrasting it with traditional broadcast and marketing models.