Editing Theatre-in-the-round (section)

== Advantages and disadvantages ==
'''Advantages'''

Theatre-in-the-round offers a heightened sense of intimacy and immersion, allowing audiences to feel closer to the action regardless of their seat location.<ref>{{Cite web |date=2022-12-16 |title=Challenges of Theatre in the Round: Performing and Staging |url=https://www.backstage.com/magazine/article/what-is-theatre-in-the-round-75791/ |access-date=2025-05-06 |website=www.backstage.com |language=en}}</ref> This configuration encourages a shared experience between actors and viewers, breaking down the "fourth wall" and fostering direct engagement. Directors and designers often appreciate the format for its ability to eliminate barriers, enhance naturalism, and create dynamic blocking opportunities <ref>{{Cite news |last=Butterwick |first=Caroline |date=2025-01-08 |title=All for one and one for all! The joint joys of in-the-round theatre |url=https://www.theguardian.com/stage/2025/jan/08/in-the-round-theatre-three-musketeers-new-vic-newcastle-under-lyme |access-date=2025-05-06 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref>such as The Three Musketeers at the New Vic in Newcastle-under-Lyme illustrate how the format supports fast-paced storytelling with a panoramic sense of movement.

'''Disadvantages'''

Theatre-in-the-round also presents significant challenges. Scenic design must be minimal or carefully engineered to avoid obstructing sightlines, as audiences are seated on all sides. This restricts the use of traditional backdrops and large props, requiring innovative staging techniques.<ref>{{Cite journal |last=Brown |first=Alistair |first2=Childs ,Mark |last3=and Youdale |first3=James |date=2024-09-01 |title=Theatre in the round: a study of the effectiveness of 360-degree video and VR to address critical questions in the teaching and learning of drama |url=https://www.tandfonline.com/doi/full/10.1080/14794713.2024.2434760 |journal=International Journal of Performance Arts and Digital Media |volume=20 |issue=3 |pages=507–526 |doi=10.1080/14794713.2024.2434760 |issn=1479-4713|doi-access=free }}</ref> Actors must remain constantly aware of their positioning to avoid turning their backs to large segments of the audience, complicating both choreography and delivery. Additionally, lighting must be designed to avoid casting shadows or spotlighting only portions of the audience area, which can detract from visual consistency. <ref>{{Cite journal |last=Fitzroy |first=Dariel |date=1965-06-01 |title=Problems Presented by Theatre‐in‐the‐Round |url=https://pubs.aip.org/asa/jasa/article/37/6_Supplement/1202/643923/Problems-Presented-by-Theatre-in-the-Round |journal=The Journal of the Acoustical Society of America |volume=37 |issue=6_Supplement |pages=1202 |doi=10.1121/1.1939533 |issn=0001-4966}}</ref>

While the format is praised for musical performances and arena spectacles—such as Yes’s Union tour, which leveraged 360-degree visibility <ref>{{Cite web |last=Easleapublished |first=Daryl |date=2025-04-29 |title=“The revolving stage was great fun, especially when it broke down and we got the audience to push it”: If anything mostly worked out during Yes’ Union era, it was the accompanying tour |url=https://www.loudersound.com/features/yes-union-tour |access-date=2025-05-06 |website=Louder |language=en}}</ref>—it can strain traditional dramatic storytelling or productions reliant on detailed scenic illusion. These complexities require directors and technical teams to adapt their methods, often resulting in longer rehearsal and planning periods.