The Evolution of Music Architecture by Hardik Patel

THE EVOLUTION OF MUSIC ARCHITECTURE -

LIVE PERFORMANCE MUSIC AND ITS UTILISATION OF THEATRICAL TECHNIQUES

The Evolution of Music Architecture

Live Performance Music and its Utilisation of Theatrical Techniques Hardik Patel Dissertation University of Westminster MArch Architecture RIBA (Part II) Tutor : Alan Powers 8th January 2020 London

Acknowlegement I would like to acknowledge and thank the following people for assisting me with the completion of this dissertation, the journey that I have undertake has been both rewarding and informative. Firstly I would like to thank my supervisor, Alan Powers, for guiding me throughout the past year and a half, it has been a pleasure conversing with on the topic of theatre. Secondly I would like to thank Es Devlin Studios and TrasK House, for giving me vital information about the sets they create and how connection is built. Finally I would like to thank my friends at Westminster, for always making the studio an inviting, friendly place to work.

SPECTACLE

IMMERSION

CONNECTION

Contents INTRODUCTION

Live music and experience Example of Theatrical LIve Music Outlining CHAPTER I: Performance and Audience of the Past

8 - 11

12 - 29

Part 1: Theatre and Opera The Modern Movement

Technological Advancements

Mark Fisher’s Large Scale Sets Influence on the Audience

Part 2: Set Design of the Rock n Roll Era Beatlemania at Shea Stadium

CHAPTER II: The Performance of Today Drama Within Sets Props and Spectacle Digital Presence, Immersion and Connection Stage Design and Layout CHAPTER III: Live Performance of the Future Introduction The Spectacle of the City Performing to the City Intimate Performance

30 - 79

80 - 87

CONCLUSION : The New Theatre Experience

88 - 91

BIBLIOGRAPHY

92 - 105

Introduction Live Music and Experience When the word of the Theatre is introduced in an architectural or dramatic conversation, the mind initially forsakes the idea of traditional grand designs, of Baroque styled opera houses. Visualisations of, red carpets, densely decorated staircases and ceilings, leading to racked seating. Opposing this the racked stage lies, placing performers above in garments of long elegant gowns full of delicate embroidery. While this is the initial mindset of theatre, cinema also makes an appearance, becoming the new digital age of drama and prose. In between this contrast of classical and modern dramatic performance lies the art of live music, bridging the barrier between digital and physical performance. This dissertation will aim to seek out how theatre has influenced the musical world, in the context of modern arena tours, of the Hip Hop genre, transforming the audience into the world of the artist, a fantasy world of their mind, through the theatrical experience. Currently, in the industry of live performance, there is a wide array of artistic endeavours that allow for a tremendous spectacle that, throughout the performance keeps building. Performing artists have used design in a direct way to convey narrative and emotion. Scenography allows for the production of grand spectacle, with the advanced use of technology. While other elements expanding from scenography are: the dramatics, the utilisation of physical props, the presence of digital media, the intricate stage design, and finally the use of the audience as the performance, these elements of design have emerged in multiple examples of modern sets. Most notably with modern artist such as Kanye West, Drake and Travis Scott. Example of Theatrical Live Music The towering mountain, constructed from grey timber, placed in the far back on the stage, set in the darkness of the arena, with a projected luminous full moon, dark clouds overlaying the whole set, creates the arrival and mood of the performance. The stage is projected outwards from the base of the mountain structure, at the forefront stands Kanye West, his face covered with a masked incrusted with black jewels, behind, stand tall twelve female figures, all twelve have faces shielded. However, unlike West, who appears and sizeable dark figure, these ten female figure are placed within nude unitards.

Scenic imagery such as this pushes the idea of West being a god-like figure to the audience, with angel-like nude women surrounding him. The hearing of the crowd, becoming awakened during this section of the performance, as Kanye is lifted by angels above, singing the lyrics: “I am a God, I am a God, I am a God, Ain’t no way I’m giving up on my God.”1 The idea of music transporting the listener into a trance-like state is present within the performance of today. Sadness, excitement, and terror being present within the production of the music, from the beat to the lyrics. However, the idea of physically transporting the audience member into the fantasy world of the artist’s mind is something done through a detailed design of the set. Outline As is the nature of “modern” music, the artist/s compose their art within a collection, otherwise known as an album. For most of these artists, albums reflect the emotions the artist has witnessed during that stage of their life. Visions that evolve the experience of the listener into something heard to something experienced. Initially done through music videos, the descriptive narration of lyrics, through this, the audience is pushed into the vision of the artist. Noticing that artist usually; before a live arena tour, release videos that showcase the central studio singles with animated and choreographed scenes, allowing for a mental visualisation to grow within the mind prior to a live event, creating an initial connection with the artist. The architectural design within the music industry, often relates to the traditional designs of opera houses and venue design, with raked stages and cascaded seating layouts, all in order to protect the audience’s attention to the performer. Typically the performer is on one side of the space and the audience on the other, this is drastically changing within the recent performances of today. The listeners become part of the production is now essential to the atmosphere of the overall performance. References; West, Kanye featuring God (Justin Vernon) (2013), I am a God, Def Jam Recordings. 1

The dissertation will look into how Theatre engaged with its audience, researching the evolution of design, and the effects of such design, to its engagement with the audience, analysing the use of scenography within early theatrical, operatic performances, and how engagement, spectacle and immersion is manifested for the audience. This dissertation will do this by initially looking at how theatre design allows for this experience, moving onto the rock n roll scene and the failure within the Beatles famous Shea Stadium performance, moving onto the success of U2 with there 360-degree tour. Following this an analysis of today’s most prominent Hip Hop artists; Kanye West, Travis Scott and Drake will occur. Examining elements that go beyond scenography. This being drama, use of objects/props, digital presence and the layout of stages — speculating on the future of Live performance and how new artist settings have altered the audience experience — answering the overall question. Is this the new theatrical experience within the context of live performance music?

Fig 1: Kanye West, Yeezus Tour, Verizon Center, Washington, DC, November 21, 2013.

I CHAPTER I Performance and Audience of the Past

Part 1: Theatre and Opera The Modern Movement From the early days of performance, with stage wagons, which would allow the movement of performance from location to location; to the traditional playhouse, such as The Globe Theatre. The connection between actor/ performer and audience was the key to success. A division between the two throughout history is shown, not only has engagement changed slightly, but theatre architectural design has also adapted and changed to accommodate for a stronger connection between the audience and performer — all in the effort to create a transcending spectacle that distracts the audience from the everyday. The theatre designs we see today are evolutions from the Modern Movement. In 1875 and 1876 two Opera Houses paved the way for the new design in Theatre, while both used ideology from the modern movement for the auditorium design, they had very different layouts outside the main stage. The 1875 Charles Garnier Paris Opera House contained generous external socialising spaces outside its main auditorium (figure 2), “The Paris Opera House had more magnificent foyers, staircases and auditorium the anything found in Vienna, Dresden, Leipzig, Berlin or London.”2 The seeking of audience’s attention during this time becoming a secondary aspect during the Opera, lavishness of garments, ornaments, and the local gossip; becoming the key reason for attendance. The Paris Opera House bared witness to grandness of visiting the Opera, on the other hand, Wagner’s Festspielhaus at Bayreuth was designed with the intentions of attracting the audiences attention, immersing them into the music drama of Wagner. Even though the main auditorium of Bayreuth and Paris Opera House were similar in size, it lacked the generous spaces surrounding the theatre space, for social interaction, allowing for the focus of music before entering the auditorium . The Bayreuth Opera House was constructed with the bare necessities in mind (figure 3). Wagner initially envisioned the Theatre to be used during summer festivals. Thus, Wagner proceeded to design the Opera House in a way that would become cost-efficient, ‘We must save, save, save, no decorations’, said Wagner to his stage designer Karl Brand. Building the Opera House in such a way, Wagner created a staging for Opera that would remove all distractions from the performer. The auditorium had a fan-shaped seating layout, creating perfect sight-lines for all attending, with a simple single tier, accompanied by a few boxes for special guests, the auditorium contained no balconies.

Fig 2 (above): Plan of Charles Garnier’s, Paris Opera House, 1875. To scale in relationship with fig 3. Fig 3 (below): Plan of Wagner’s Festspielhaus at Bayreuth, 1876. To scale in relationship with fig 2.

References; Mackintosh, Iain. (1993). Architecture, Actor & Audience. London: Routledge. [Accessed 13/03/2019] p. 41. 2

Wagner’s vision is that all his audience members being equal, disrupting the social hierarchy present in Elaborate Opera Houses of the past.

Fig 4: Illustration of Wagner’s Festspielhaus auditorium at Bayreuth, 1876.

Festspielhaus at Bayreuth went further into this interaction with audience and performer, slight angling of seats (figure 4), and the removal of balconies and the darkening of the room all allowed for the audience to become aware of the music. The 1876 Festspielhaus, Bayreuth by Wagner was one the first examples of this modern movement in Opera and Theatre, “His audience were to forgo any social distractions and, forsaking all others, surrender themselves passively to the music drama of the master.”3 The Opera in many ways was the initial starting point for the grandness for modern live performances, with Wagner creating an immersive experience for the visitors of his music drama.

Fig 5: Wagner’s Festspielhaus auditorium at Bayreuth, 1876, showing the removal of decorations, creating an immersive experience. References; Mackintosh, Iain. (1993). Architecture, Actor & Audience. London: Routledge. [Accessed 13/03/2019] p. 43. 3

Technological Advancements

Within audience and performer engagement, technology and its uses can play a vital player in the game of connection. Following the birth of the Paris Opera House and Festspielhaus in Bayreuth, the main technological advancement was the steel cantilever, that allowed for the curtain to project forwards from the stage. When the box office was concerned, this allowed for additional rows of prime centre seating to become available, in turn, a higher income for the company. Accompanying the advancements in structure is illuminating devices, gas lights slowly transitioned out, being replaced by the new electrical incandescent lamps. Although these lighting devices, were seen to have potential within the future, initial capabilities, towards the end of the Nineteenth Century showed their lack in warmth and glow that were needed to bring life to the performers. Ellen Terry, in 1891 recalled, “The thick softness of gas light with the lovely specks and motes in it, so like natural light, gave illusion to many a scene which is now revealed in all its naked trashiness by electricity.”4 Following this initial development, electrical lights gained the warmth gas already obtained. Was the evolution of stage design; towards the end of the Nineteenth Century, 1869, Charles Waltham introduced the flat stage. Providing easy access to naturalistic settings the previous raked stage could not hold, although the raked stage allowed for emphasis to the upstage actors the new tiered seating allowed for this to be irrelevant when theatre architecture was concerned. The flat stage, not only allowed for the illusion to be better utilised but also paved the way forward for large contraptions. The revolving stage was conceived in Munich 1896, allowing for more meaningful use of scenography and contraptions. As the stage was able to revolve, there was the ability for two settings rather than the one (figure 6). Not only did this create spectacular scenes but also was an essential application for engaging with the audience. Hydraulics, electric lifts and flying systems, of 1884, allowed for there to be tremendous spectacle and illusion to be present, with the marriage of these inventions and the steel cantilever system, ticket prices would rise, as the availability of large prime seats were present. Stage design not only evolved from the racked to the flat to the revolving, but shapes of stages also changed, accommodating varying degrees of interaction with the audience. The idea of scenography towards the late 19th century and predominantly during the 20th century began to play a crucial role in theatre production during the modern movement in theatre architecture. Edward Gordon Craig (figure 7) and Adolphe Appia pursed to create a stage set (figure 8) that would revitalise the idea of pure connection between audience and actor — Craig went on patenting a design of vertical panels and lights projecting tone and colour, down rather than upwards through footlights (later seen).

Fig 6: Oliviers Drum revolving stage, the National Theatre. (1976).

Fig 7: Charoscuro sketch of a set design concept by Edward Gordan Craig, currently at the Moma Gallery. Fig 8 (right): Scenographic set design by Adolphe Appia and Gordan Craig, Orpheus, Hellerau 1913. References; Mackintosh, Iain. (1993). Architecture, Actor & Audience. London: Routledge. [Accessed 13/03/2019] p. 45. 4

Part 2: Set Design of the Rock and Roll Era Beatlemania at Shea Stadium The beginning of public Theatre in the modern era of music emerged through the Beatles arrival of Shea Stadium on the evening of 15 August 1965. The Stadium, for the performance, underwent minor additions, incorporating a small stage for the band, and an enclosure for the media team. As the Beatles arrived in traditional rock and roll fashion, via helicopter, using the baseball teams changing rooms as a dressing room, the band was hit with loud echos of the chaotic screams surrounded the stage. This immense screams caused a lack of audibility, this anti-climax is also reflected within the performance stage. The design of this platform was fixed into a central position within the Stadium, causing limiting performing range. “If you’ve seen the footage, you know that the Beatles were positioned on a rickety stage on an infield diamond, with the screams raining down from all directions.”5

Fig 9 (left), 10 (above), 11(below), 12 (bottom right): Images from the Beatles performance at Shea Stadium, being overwhelmed by the screaming fans in attendance.

The Shea Stadium marked a pinnacle moment for not only the band but also the music industry as a whole, the emergence of the rock concert as a cultural phenomenon began from this large scale Beatles performance. While the idea of a large Beatles and rock performance was a success, the performance as a whole was a failure. Not only the music itself inaudible, due to the lack of technical fit-out. The recorded documentary became a umrealistic representation, over the screaming fans, the band is unheard, the BBC 1 documentary of the performance, therefore, was not an accurate representation, “The audio for the songs that remained went through a heavy post-production process as well. Some songs were treated with overdubs, or even re-recorded entirely, by the Beatles at London’s CTS Studios on 5 January 1966, to cover audio problems throughout the concert recording.”6 The performance, even though was a technical failure; became a successful box office hit, enticing 55,600 Beatle people to attend. This mark a revolutionary new movement in live performance music, allowing for the idea of Theatre to become implemented within its production.

References; Fleming, Colin. (2015). Rolling Stones: Why the Beatles Shea Stadium Show was even grater then you know. [Accessed 14/03/2019] https:// www.rollingstone.com/music/music-news/whythe-beatles-shea-stadium-show-was-even-greater-than-you-knew-227621/ 5

The Beatles at Shea Stadium. [Accessed 14/03/2019] <https://en.wikipedia.org/wiki/ The_Beatles_at_Shea_Stadium> 6

Fig 13: Pink Floyd the Wall, live in Berlin, (1979) set design by Mark Fisher.

Mark Fisher’s Large Scale Sets The wall live, Pink Floyd.

Following the performance by The Beatles, the industry of music switched, from small stage intimate performances to the massive arena tour as we know today. When comparing these small staged venues to the more significant urban events such as Pink Floyd’s, the wall tour in 1979, the engagement with the audience is something that has to be informed. In both situations, the rock concert is contained within a set space, creating a significant spatial difference between the environment of the performance and the city space. With such an event, Fisher envisioned a setting that could celebrate significant events of the city’s history, allowing for a “powerful symbolic marker for the multitude that attend.”7 Creating the blurring of the city and the event space, allowing to create a “City as Event”.8 The second way Fisher was able to connect with the audience was in the addition of architectural imagery, that would resonate with his audience, on a symbolic and metaphorical level. For Pink Floyd’s conceptual album, The Wall, displays of the rockstars becoming alienated from there audience became the key message. In order to represent this mental imagery, the set designers, Roger Waters, Mark Fisher and Jonathan Park. Symbolised the narrative with a large wall; constructed on the stage, with boxed spaces within, to portray seclusion and mental breakdown with the members of the band, as they are placed within these spaces, fitted out, representing hotel rooms. This high wall was not only construction for the temporary habitation of the band members, but also played the role of a screening surface, on which “savage animation of cartoonist Gerald Scarfe” are projected. During the climax of the concert, where the fictional character Pink is on trial, the wall, is seen to crumbling down, in a grand chaotic spectacle. This performance by Pink Floyd was the most ambitions staged performance at the time, going onto become a film by Alan Parker in 1982. The Rock and roll stage design, seen to be one of the largest of the time, captivating the audience, with not only music but an interactive, theatre-like performance by the set, mimicking the emotions and tension of the audience during the time. With the oversized depiction of Germany’s past ruler, as the teacher, and the encompassing of there people, Pink Floyd goes further by demolishing this physically represented barrier between Dictators and the people.

Fig 14: Concept Sketch by Mark Fisher for the Wall, showing the teacher being replaced by a pig. Shows Berlins Past Dictatorship and the crumbling of the wall.

Fig 15: Drawing by Gerald Scarfe, showing the teacher for Pink Floyd. Fig 16 (opposite). The Hotel Rooms within the boxes present in the wall. This is where the band would play. References; Holding, Eric. (2000). Mark Fisher Staged Architecture. Chichester: John Wiley & Sons Ltd. [Accessed 14/03/2019] p. 46. 7

Holding, Eric. (2000). Mark Fisher Staged Architecture. Chichester: John Wiley & Sons Ltd. [Accessed 14/03/2019] p. 46. 8

Fig 17: U2, 360 degree tour, showing the Claw, grabbing the attention of the audience whilst providing a staged area for the artists.

Fig 18: The structure of the Claw, shining a beacon towards the ending of the performance.

Mark Fisher’s Large Scale Sets 360 Degree Tour, U2. Mark Fisher went on to design more extensive, more interactive sets such as U2 360 tour, which presented a spider-like four-limbed structure in which the band becomes sheltered within.9 These sets, as grand as they became, had their limitations, as bands were still confined to the space of the stage, reducing the connective experience for the seated audience.

Fig 19: The Kinetic Screen within the structure of the Claw, that moves with the music.

Fig 20: The Claw in relation to the arena space, showing the circular stage and the hierarchy of seating. References; Kronenburg, Robert (2012). Live Architecture: Venues, Stages and Arena for Popular Music. London & New York: Routledge. [Accessed 15/03/2019] p. 183. 9

Kronenburg, Robert (2012). Live Architecture: Venues, Stages and Arena for Popular Music. London & New York: Routledge. [Accessed 15/03/2019] p. 185. 10

11 12 Kronenburg, Robert (2012). Live Architecture: Venues, Stages and Arena for Popular Music. London & New York: Routledge. [Accessed 15/03/2019] p. 187.

360 Tour. [Accessed 12/11/2019] <http:// www.stufish.com/project/360> 13

The 360 tour design was initially conceived by Willie Willian in 200610, collaborating with architect Mark Fisher for the final design. The structure, the claw, which drew inspiration from the Landmark Theme Building in Los Angeles, consisted of steel structure almost 180 tonnes in weight and spanning a maximum of 64 metres in width. The structure not only was massive in scale but took a two day set up, in order to allow the machinery to function. The first day dedicated to the assembly of the structure and stage, the second for the visual and audio equipment, to be installed and tested, with the concert taking place on the third. In terms of technology, the centralised stage had all the usual pyrotechnics. Lasers and lighting usually attributed to a live rock concert, but what was unique to the 360 tour, besides the large scale claw structure was the lighting feature in the form of a sizeable cone-shaped screen, “A transformable three dimensional, cone-shaped screen that expands and contract during the performance. Designed by kinetic structures specialist Chuck Hoberman in collaboration with Mark Fisher, the screen used pantographic geometry that is strong, mobile and lightweight.”11 LED lighting was attached to the panels exterior, creating a high definition image for the viewers, “The panels are closepacked for high-quality video transmission when it is retracted, but when expanded, other effects on the pylon can be seen in between the panels.”12 U2’s 360 tour, was nearly a two year worldwide tour, starting in June 2009 and ending in July 2011, the tour as the name suggests was performed on a circular stage, allowing for the audience to have constant connection with the band. The four-limbed structure that rose to 50 metres in height above the circular stage, on this a cylindrical screen, also features the sound system. Not only was this structure a functional element of architectural design, but broader was the focal point for audience members. The structure known as the “claw” resembled the aesthetics of a spaceship. Purposely conceived; During the time of the performance, a massive NASA experiment was being undertaken by astronaut Mark Kelly, during the first leg of the tour, the audience were presented with pre-recorded videos of Mark Kelly in the international space station. This show was seen a total 110 times and by 7.2 million individuals, being one the highest grossing live performances.13

Influence on the Audience When the audience becomes involved within the stage setting; there are two different hierarchies present, the seated and standing members. Due to the nature of large scale production the performers tend to become minute in scale compare to the arena. Thus large scale sets overwhelm the space; circular raked seating of the arena allows for the focal point to be dragged towards the centre giving,“Far more people being in a better, closer relationship that in the customary proscenium arch-type stage at one end of the field.”14 In addition to the centralised U2 stage, the set had a technological spectacle, with the attention-grabbing structure being kinetic, allowing for the set to move with the progression of the show. This physical movement with the music, married with the electric show of laser and lights allowed U2 to fulfil its audience demands, with the emotional and anthem-like music by the band allowed for a spectacle never seen by a rock and roll band on this scale. From intimate performances in small venues to extensive arena tours, Mark Fisher was able to project the music from a non materialistic spectacle to something that become physically connective with the audience. When comparing the Beatles Shea Stadium performance and U2’s 360 tour; the difference in engagement with the audience and performer is evident. The lack of equipment has caused the Beatles performance to be a failure; the audience was seen not to be immersed, connected or in awe of a spectacle. The claw, on the other hand, a stage, thats scale is something never seen previously, became unique. Following the end of the tour, it was proposed that for the last concert stage will be made into a permanent stage. With the design of Pink Floyd’s, the wall, not only did Mark Fisher create a unique narrative, using the background political history of Berlin. Executing its production, excited the radical German Floyd fans as the Wall crumbs to the ground, signifying there present freedom. The crumbling Wall itself allowed for a close personal connection with its audience, reflecting on the trauma of Berlin’s historic past.

References; Kronenburg, Robert (2012). Live Architecture: Venues, Stages and Arena for Popular Music. London & New York: Routledge. [Accessed 12/11/2019] p. 189. 14

II CHAPTER II The Performance of Today

Introduction to Expanded Scenography Music, a medium heard, engaging with on mental sense, allows for self imaginative, mental fantasy and spectacle. When music is heard, not only does evoke memory but also the emotions related. The medium of music not only creates these sensations within the mind but also transports thought into a concoction of fantasy. “Fantasy in a psychological sense refers to two different possible aspects of the mind, the conscious, and the unconscious.”15 With music of the past, specific theatre designs create immersive experiences, for its listener, allowing concentration with the music. In contrast, larger-scale sets in the rock and roll have a connective experience, and it is these two elements, joined with the element of spectacle that allows for the achievement of a fantasy world. This section will endeavour to answer, how is unique audience experience created in the music of today? Music of the past has been a very one-directional in its connection, with the progression of music genres, live performance has seen an adaptation in its presentation, with audience experience being a key element with this evolution. Artists, endeavour to connect with the audience with the creation of a large spectacles, that are seen to peak during there performances. This chapter will concentrate on three Hip Hop artists, Kanye West, Travis Scott and Drake, who in today’s age are currently at there career peak, both in selling and performing music. In the production of theatrical performance, music and sound has always played a complementary role, with scenography, to create terror and suspense, with dramatic prose. In the performance of music, there is a reversal in roles, as the music is the headlining element of the evening’s entertainment, the placement of scenographic elements assists the music. The elements that create this atmosphere are seen to be split in segments, elements that go beyond the basic scenographic techniques with the use of drama, props, digital presence and the stage layout. This chapter will analyse these elements within today’s performance to see how an engagement with the audience is delivered, compared to the traditional techniques of theatre. Fig 21: Travis Scott’s album cover for Astroworld, 2018. Showing his fantasy world of a psychedelic theme park from his memories as a child. References; Fantasy (Psychology). [Accessed 14/12/2019] <https://en.wikipedia.org/wiki/Fantasy_ (psychology)> 15

Drama Within Sets Introduction Drama, being an event of vivid, emotional, conflicting, and striking moment, is a crucial aspect of driving a narrative in a play or film, but how is the sense of Drama been utilised in the production of music?16 Within the setting of a live performance, Drama has also been used to create narration, in a contemporary sense. Dramatic prowess has been seen to control the energy of the audience, with other genres of live music, such as Electronic dance music, BPM or beats per minute, controls the audiences heart rate, deriving that 168 BPM is the magic number for engagement17 With the genre of Hip Hop, even though a Dj is present, the performance is mainly lead by the solo artist. Therefore means of connection with the audience must happen with the use of other dramatic techniques. Drama has always been a critical player in this game of performance, in sports, boxers use the walkout for the audience, the opponent and themselves. This walkout occurs with dramatic lighting and music, but also in some instances with props and costumes. They are influential to a boxers mindset, energising the audience and placing fear in the opponent. Similarly when musical performance are concerned, the entrance of the artist plays a considerable role. This moment within the night allows to create a sense of excitement for both the audience and the artist. Kanye West seems to revel in Drama, creating influential experiences to his audience. This dramatics within his performance s are done directly, connection with theatrical acting, and indirectly, where the architectural structure allows for the presence of theatrics.

Fig 22 (left): Kanye stood on his mountain, mount Yeezus, looking above to the ‘heavens’. Yeezus Tour, 2013. References; Drama. [Accessed 14/12/2019] <https://www. dictionary.com/browse/drama> 16

Egan, Dan. (2016) Making BPM the Heartbeat of Your Organization. [Accessed 14/12/2019] <https://www.tibco.com/blog/2016/01/26/ making-bpm-the-heartbeat-of-your-organization/> 17

Drama Within Sets Kanye West: Yeezus Tour (2013) Drama not only is used in the reveal or the peaks within the wave of a musical performance. It also is seen in a direct sense with the use of theatrical production in the musical show. Kanye West is well known for this theatrical use of actors. In the Yeezus tour, 2013, designed by Donda (West’s design studio) and Es Devlin, the arena is seen to be almost silent, waiting for the arrival of Kanye. While emailing with Es Devlin Studio, designer Matteo Mastrandrea mentioned, ‘this arrival is the pinnacle moment where spectacle can begin to occur.’ His San Antonio show, witnesses a major moment, before the epic spectacle occured, emotions of excitement begins to florish, what emerges from the dark crevice of the extruded mountainous backdrop are 12 angelic women, garmented in white gowns, the beauty upon there faces masked in nude, these angels are seen walking to the edge of the thrust stage. Reaching the end, a narration is announced around the arena, a definition of Wests first chapter out of five, in his theatrical show is projected:

Fig 23 (above): Kanye West, Yeezus, 2013. Side elevation of Mount Yeezus showing the set, drawing illustrated by interiors.

“FIGHTING Noun: Violence or Conflict Adjective: displaying combat or aggression pugnacious, truculent, belligerent, bellicose “Light beaming into the world, but men and Women ran towards the darkness.”18 This definition is seen to contrast what is occurring on stage. The dramatics of the angels and the music that has brought them forth, questioning the moment. This great ending to the epic of the goddesses is seen by another shift in tone, musically and spatially. The deconstructed sounds of Wests, I am not here followed by the music of the song reforming as West announces the lyrics: “I am not here right now; I am not home Leave a message after the life. Flat line tone I am not here right now; I am not home Leave a message after the life; after I’m gone”19 The first show begins in confusion; as the audience is being shown Wests thoughts though his theatre and music, with the short song becoming woven within the sounds of a voicemail.

Fig 24: Kanye West, Yeezus, 2013. being lifted as he sings, I am a God. Fig 25 (Right): Kanye West, Yeezus, 2013. Chapter 1, Fighting, moments after his reveal to the audience. References; Villareal, Isreal. (2018) Kanye West Live Intro Onsight New Slaves Yeezus Tour San Antonio. [Accessed 14/12/2019] <https://www.youtube. com/watch?v=ueykiuw5daU> 18

Kanye,West. Genius – I Am Not Here. [Accessed 16/12/2019] <https://genius.com/ Kanye-west-i-am-not-here-lyrics> 19

The dramatics of this underlining element, during this transition period, from the supporting act to the main headline is seen to occur, both in the music and staging space. Standard voicemail tone call speaks, ‘I am not here right now, leave a message after the tone’, West has used a play on words, for the audience to leave a message after his life has made amends, in a sense atoned. This final statement ended with the dimming of the lights and the reforming of the stage. The second chapter of West’s theatre begins with, rising, with West appearing from the base of the mountainous backdrop. Passing his dancers ‘nude garmented angels’, this introduction by West is seen as a rebirth, in a sense Kanye has left his egotistical self behind, his now narcissistic personality becoming whole again, become transformed into Yeezus.20 Fig 26: Kanye West, Yeezus, 2013. Chapter 1, Fighting, moments after his reveal to the audience.

Fig 27: Kanye West, Yeezus, 2013. Engaging with his audience. Fig 28 (Left): Kanye West, Yeezus, 2013. Using the Maison Martin Margiela, diamond mask to reflect laser beams. References; Kanye,West. Genius – I Am Not Here. [Accessed 16/12/2019] <https://genius.com/ Kanye-west-i-am-not-here-lyrics> 20

Ahi,J and Karoghlanian, A/Interiors. (2013) INTERIORS: THE YEEZUS TOUR. [Accessed 16/12/2019] <https://www.archdaily. com/461103/interiors-the-yeezus-tour> 21

West has depicted his sixth studio album tour with the narrative of a procession, within his own mind West has portrayed himself as the Godly figure. “Kanye has said that the initial vision for The Yeezus Tour came from imagining the end of the world. The visuals of explosions, fire, mountains, masked beings, creatures and God all make their way into the experience of the show.”21 West has used Drama in a number of ways, other then the standard use of scenography, and the manipulation of light, with one instant using his Maison Martin Margiela diamond mask to refract laser beams. West has incorporated his music within the narrative in a broad direction, playing on the verticality with the architecture of the set, being 50 ft in height, creates a presence of dominance between himself and the audience. The use of actors and clothing, such as the women, depicting as his angels in white, contrasting Wests choice of clothing, with him in black garments, with a masked face of diamonds. This production of Yeezus has used a direct approach of theatrics to convey a dramatic narrative. With the use of acting, costumes, chiaroscuro lighting and oversized intensity in the set design. Kanye also uses the mountain as an indirect dramatic element. Fitted with pyrotechnics this allows for a visual show to be achieved, “In some instances, images are projected onto the mountain from above as a way of changing its texture. In one particular instance, the mountain changes its appearance into a volcano. “Blood on the Leaves” transforms the stage into a pyrotechnic show. The fire bursts come from the mountain and explosions erupt from the lower stage. The mountain also splits in half in the middle of the show to allow a religious procession through and Jesus, himself.”22

Ahi,J and Karoghlanian, A/Interiors. (2013) INTERIORS: THE YEEZUS TOUR. [Accessed 16/12/2019] <https://www.archdaily. com/461103/interiors-the-yeezus-tour> 22

Drama Within Sets Kanye West: Saint Pablo Tour (2016) Kanye West has most notable produced this technique of dramatic spectacle through various means, the most successful being his seventh studio album, following his spiritual memoir of Yeezus. For his album ‘The Life of Pablo’ (2016) his Saint Pablo Tour was created; unlike his previous albums, he intended this new compilation of songs to be a work in progress. The album throughout the tour, is seen to adapt and evolve, becoming ever-changing, “A painting that’s never finished.”23 The performance for this arena tour, which ended early in December 31st, 2016. Although its premature end, this new tour was a complete contrast to the operatic experience of his previous Yeezus tour, having a more extensive, active experience. The design of the tour was unique compared; the stage, split into two components, the main stage and secondary ‘spaceship’ stage, featured a pulley and track system, allowing West to transport himself throughout the arena, over the vast crowd below. Attached underneath both, an array of large spot lights, that would project light beams down. This ever-changing adapting album is mimicked within the design of the tour, not only has the design by TrasK House, allowed for an adaptive stage, but also for the idea of epic to be continuously created, with spectacle occuring throughout the entire performance. The entirety of the performance set within the context of an arena, with West elevated above the audience, creates an intentional hierarchy between West and the audience. Similar to a sermon with catholic mass, West is preaching to his followers below. The presentation of this service been divided into three sections with two transitional moments. “The result is that people actually become part of the experience, taking the concept of a concert to another level. In this sense, audience members are singing, dancing and engaging with Kanye West. It is the first concert in recent memory that actively uses the crowd as part of the experience of the show.”24 As the event begins, there is whine pronouncing itself from one side of the arena, as the whining slowly starts to fade, the obscure stage starts rising, in the darkness of the arena, a silhouette of a figure.

Fig 29 (Left): Kanye West, Saint Pablo Tour, 2016. Just after the arrival of West, after his performance of Father Stretch My Hands. Shown the audience below illuminated with the spaceship stages grid lighting below.

Fig 30: Kanye West, Saint Pablo Tour, 2016. Elevation of the spaceship stage, illustration drawn by interiors journal.

References; Ahi, J and Karaoghlanian, A / Interiors, (2016), INTERIORS: Kanye West’s Saint Pablo Tour. [Accessed 16/12/2019] <https://www.archdaily. com/798543/interiors-kanye-wests-saint-pablotour > 23

Ahi, J and Karaoghlanian, A / Interiors, (2016), INTERIORS: Kanye West’s Saint Pablo Tour. [Accessed 16/12/2019] <https://www.archdaily. com/798543/interiors-kanye-wests-saint-pablotour > 24

Realisation of the beginning starts to grasp the audiences attention, the sea of people begin to roar, with this rising of the platform. The ambience surrounding becomes electrified with the warm glow of the stage lights; beams focused towards the ground on which the platform has risen from, becoming slowly repossessed by the audience. What follows is the introduction of Wests, “Father Stretch My Hands Pt 1”.25

Fig 31: Kanye West, Saint Pablo Tour, 2016. Elevation of the spaceship stage, pausing in a dramatic fashion.

“You’re the only power (power) You’re the only power that can You’re the only power (power) You’re the only power that can”26 Not only does this moment conjure the emotions of excitement and anxiety, but the whole scene seems to be surreal, a spectacle that would have never been imagined. Just slightly hovering above the audience, inches away from grabbing his fans. Roaring crowd gaining energy, waves of hands placed in the air are seen in the sea of people, as West begins to entertain the idea of beginning the main event. What follows is producer Metro Boomin’ lyrical stamp which he signs to each track he touches, giving a queue marker for the audience of what is to follow. “If young Metro don’t trust you I’m gon’ shoot you Beautiful mornin’, you’re the sun in my mornin’, babe Who can I turn to? Nothin’ unwanted After all, who can I turn to?”27 This lyrical marker is seen to energise the audience, while this is occurring West also seems to gain energy; with this, the audience and West begin to connect and dance in sync. This connection is seen to only gain momentum as the floating stage travel through the arena space. During the performance of Father Stretch my hands Pt 1, Wests raised platform is illuminated with one spotlight from above. While the audience below that are crashing into each other, they are illuminated by a dozen or so lights. In turn, creating a focus on the audience rather than West, having the puppet master hidden away from the dramatic scenes unfolding below. West further uses lights to set the pace for the performance, representing his arrival with edge lighting, which slowly would gain energy as the show gains momentum. “Lighting cues and effects from the Secondary Stage and ultimately concluding with Kanye West traveling back to a bright spotlight in the centre of the stage during “Ultralight Beam.”28

West, Kanye featuring Kid Cudi (2016), The Life of Pablo, Father Stretch My Hands Pt 1, Sony/ATV Music Publishing LLC 26

West, Kanye featuring Kid Cudi (2016), The Life of Pablo, Father Stretch My Hands Pt 1, Sony/ATV Music Publishing LLC 27

Ahi, J and Karaoghlanian, A / Interiors, (2016), INTERIORS: Kanye West’s Saint Pablo Tour. [Accessed 16/12/2019] <https://www.archdaily. com/798543/interiors-kanye-wests-saint-pablotour > 28

Drama Within Sets Comparison of Drama With traditional drama, from Aristotle’s Poetics, we learn that there are six elements of drama, including plot, character, theme, diction, melody and spectacle. While these elements are all present within the theatre, they become heavily implemented within the context of live music performance. With the case studies mention, Wests Journey of spirituality, is seen as the plot. Himself (Kanye) transforming from Ye to Yeezus as the character, theme with the idea of Wests transformation into a higher being. Diction with the use of religious references of enlightenment, melody comes into play with Wests use of Gospel samples; all having a religious reference, and spectacle with Wests unimaginable settings for displaying his vision, connecting with his audience. “Tragedy is a representation of an action of a superior kind - grand and complete in itself.”29 When plot is referred to, poetics outlines, “For tragedy at its best the plot should be complex, not simple, and it should be representative of fearsome and pitiable events.”30 While all this is present within the performance, the main idea of dramatic’s within Aristotle’s poetics is the use of tragedy and epic, both having similarities and differences. Wests performance with Yeezus tour (2013), shows to have a direct dramatic tone, being a modern theatrical performance. With the use of plot and theme to share his changing vision to the audience. While Yeezus was a successful tour, it lacked some aspects of audience connectivity, moments within the performance were in ways tragic. However, cloaked in grandness; feelings of vulnerability are shown by West. “Epic, moreover, must needs come in the same kinds as tragedy: simple or complex, and based on character or suffering. The component parts, too, must be the same, with the exception of song and spectacle.”31 On the other hand, Wests Saint Pablo Tour (2016), followed an indirect dramatic presence, focusing mainly on the aspect of spectacle. The design of the stage set and the light affects allowed for West to control the energy within the performance. This direct and indirect approaches within the performances have seen to capture the audiences in two different ways, similar to Wagner’s Festspielhaus at Bayreuth, West’s direct approach with Yeezus was there to connect with the audience with his transformation from man to god. While his indirect approach, with Saint Pablo, created immersion which ultimately had a larger substantial affect on the audience, as every moment they engaged with Kanye, became a sense of spectacle.

References; Aristotle.(384-322 BC). Poetics: A new translation by Anthony Kenny. Oxford University Press [Accessed 16/12/2019] p. 23. 29

Aristotle.(384-322 BC). Poetics: A new translation by Anthony Kenny. Oxford University Press [Accessed 16/12/2019] p. 31. 30

Aristotle.(384-322 BC). Poetics: A new translation by Anthony Kenny. Oxford University Press [Accessed 16/12/2019] p. 48. 31

References; Doherty, Mike. (2016). Kanye West tour review – Saint Pablo’s floating stage takes Yeezy to new heights. [Accessed 16/12/2019] <https://www. theguardian.com/music/2016/sep/01/kanye-westsaint-pablo-tour-review> 32

Fig 32: West on Mount Yeezus, as his theatrical performance of Yeezus comes to and end. Showing a direct dramatic role with acting.

The spectacle of the floating stage creates the dramatic presence of epic. The Saint Pablo Tour not only creating an immersive interaction with its audience but also involvement, with the audience become part of the performance. “There were moments in West’s Toronto set that felt indelible, with the rapper/ producer leaping around on his flying platform that sat above a rapturous mosh pit, bathing it in light. The man with the arena-sized ego managed to create scenes of spirited communal joy.”32

Fig 33: West resting on top of his floating stage, looking below to his audience as they recite his lyrics. This image show how Kanye has been able to create a dramatic spectacle with his set.

Props and Spectacle Introduction Spectacle is the essence of a successful event; the creation of a moment that can transform the experience of an individual is what creates performances attractive. While Kanye West was able to create this transformative space with drama (Yeezus tour 2013), his uses his structure as a prop tool, controlling the audience, assisting with his creation of spectacle (Saint Pablo tour 2016). “This is an artist who has continuously combined Film, Architecture, and Fashion into his work, creating concerts that feel like theatrical experiences.”33 Props are used not to transform spaces but the add to the overall space, creating unique artistic attraction that convey a narrative to the audience. Although West is incredible with his spatial transformation, the Young Travis Scott has created a unique connection with his audience. Having live performances that engage with each individual, with the use of physical theatrical props elevated within space to engage with his young, energetic audience.

Fig 34 (left): Edward Gordon Craig’s, patent for his adaptive architectonic set.

References; Ahi, J and Karaoghlanian, A / Interiors, (2016), INTERIORS: Kanye West’s Saint Pablo Tour. [Accessed 16/03/2019] <https://www.archdaily. com/798543/interiors-kanye-wests-saint-pablotour > 33

Baugh, C, (2005), Theatre, Performance and Technology: the development of scenography in the twentieth century. Hampshire & New York: Palgrave Macmillan. [Accessed 26/12/2019] pg. 52 34

Gordon Craig, E, (1909), Daybook 1, Archive in the Humanities Research Centre, University of Texas Austin. [Accessed 26/12/2019] Pg 61. 35

Rockwell, D and Mau, B, SPECTACLE, London: Phaidon Press Limited. [Accessed 26/12/2019] Pg 153. 36

Props or objects have been creating spectacle within various examples of Theatre, from traditional Theatre and opera, within ceremony, and in carnival. Although these three are broad within their functions, they all use objects in a ways that engages with the audience. The technological evolution in Theatre has concluded with the objects becoming the stage space. Gordon Craig, with his scenographic ideas, wanted for the transformation of space,“The purpose and aesthetic of a scene by Craig may be defined by performative function rather than imitative, representational, or even aesthetic purpose.”34 The concept of spaces built with two dimensional pictorial images, seem to be superseded by three dimensional structures that represent the setting.“I wish to remove the Pictorial Scene but to leave in its place the Architectonic Scene.”35 While Theatre took this approach with the development of stage props and its creation of spectacle, the audience it intends to deliver to is seen to be too civil. When chaos is introduced, spectacle has to deliver a grand connective presence within space. Carnival, being a public celebration, plays a vital role in engaging and transforming the typical city into a fantasy world. “Spectacles are alchemical art. In a moment, cities become stages; people are remade as audience, actors, atmosphere.”36 In modern music, objects have been used extensively, fully transforming spaces into visions of the artist, Travis Scott is not only known for immersive evironments in his musical production, but also for his ability to engage with each member of his audience. He is transcending the audience into his psychedelic world — Scott’s live performances, are seen to be a rollercoaster of intensity and high energy.

Props and Spectacle Travis Scott: Birds Eye View (2017) The Birds Eye View tour by Travis Scott (2017), was his first solo tour. Scott, seen to implement his high school background within musical Theatre and his involvement in the thespian society. Creating dramatic elements within his night shows that grasp individual audience memebers attention, with Ellen DeGeneres, Scott has mentioned that he wishes to “Design a play around my whole album.”37 This artistic knowledge is seen very clearly within his tours; birds-eye view and Astroworld. With all of Scott’s Tours and performances, his connection has always been an important aspect, with the high energy “raging” audience. Always on their toes, crashing into each other with every beat and lyric. Scott has needed to use his theatrics to create a spectacle in order to harness the waves of people in his crowds. This is done with the use of oversized objects within space and playing with the vertically of his arena. With the addition of Lasers, lighting and digital projection, Scott always delivers a performance that in many aspects relates to a carnival. During his 2017 Pittsburg show, Scott, starts his grand spectacle shrouded in darkness, this suddenly evolves with lasers, beaming through the arena, fog showing the path. Within a couple of moments, psychedelic images are displayed in the screen backgrounding the stage, the space slowly transforms, illuminated with purple lights. Scott is nowhere to be seen on stage; noticed above, blinding his audience flying on a mechanical eagle singing his hit song, Butterfly Effect. “For this life, I cannot change Hidden Hills, deep off in the main M&M’s, sweet like candy cane Drop the top, pop it, let it bang (pop it, pop it)”38 Scott moves around the arena on this mechanical bird, giving reference to the tour title, bird’s eye view. This event transpired towards the end of the show; this vast spectacle, is needed with the intensity of a Travis Scott concert, following these events was the performance of his hit ‘Antidote’.39 This last song, which resonated the audience, Scott is seen jumping on the mechanical 150kg bird, this energy is mirrored below within the audience, shouting, “Anything can happen at the night show Everything can happen at the night show.”40 The audience of around 5000 plus during this Pittsburg show surrendered to the music, waves of energy within the audience is visible, a sea of bodies jumping and crashing into one another, looking above to this giant mechanical bird, with its blinding lights gazing upon to audience below. Scott, in a split moment, vanished, “And in his place stood a mechanical bird. Oh, anything can happen at the night show.”41

Fig 35: Travis on his mechanical bird, allowing a fan to perform below. This event creating a connection that will stay with the fan forever.

References; The Ellen Show (2018), Travis Scott Shares ‘Crazy’Details About Kylie’s Delivery. [Accessed 26/12/2019] https:// www.youtube.com/watch?time_ continue=296&v=xdSscBpl97M&feature=emb_ logo 37

Webstar, J, Leone, F and Lindstrom S, Butterfly Effect, Sony/ATV Music Publishing LLC 38 40

Routh, J. Pittsburgh Post-Gazette. (2017). Concert review: Travis Scott brings one of rap’s hottest tours to sold-out Stage AE. [Accessed 26/12/2019] <https://www.post-gazette.com/ ae/music/2017/05/03/Travis-Scott-Stage-AEreview-Khalid-Pittsburgh-Birds-Eye-View-Tour/ stories/201705030157> 39 41

Fig 36: Travis, performing his hit song Butterfly Effect, whilst on his mechanical oversized prop. Below lies the frenzy of rages.

Props and Spectacle Travis Scott: Astroworld (2018)

Scott has continued this high energy spectacle with his latest endeavour, ‘Astroworld’ (2018) by TrasK House, now using his inspiration of his hometown theme park, with memories as a child, Scott went further with the transformation of the space. On entry, individuals pass through an enlarged head of Scott, tunnelling through his mouth and entering the space of his mind. Taking his psychedelic sounds into a materialist world, on entry you noticing the extravagance of the Scott’s world, from the bright lights, hardhitting neon graffiti postered, with quotes such as, “LOOK MOM I CAN FLY”. Most prominent of all, is the steel structure of his roller coasters, the overhead coaster, sitting above the audience space leading to stage where the 360 coaster resides. Scott has taken inspiration from his mentor Kanye West with his stage presence and design, controlling the momentum of the crowd with the use of props and devices.42 Scott, unlike many artists of today, uses a tradition stage layout. With a thrust stage, with the addition of a separate stage opposite for his supporting acts, this staging layout allowing him to control his thousands of fans. Normally seen during the show to rage within the pit of the venue floor. Within his performance at Madison Square Gardens (2018), the most spectacular moment within the evening was the performance of his earlier title, ‘antidote’, which features lyrics;

Fig 37: Travis on his 360 degree rollercoaster, which he uses to perform, onto which he straps his audience members.

“Anything can happen at the night show Everything can happen at the night show.”43 This analogy, of anything, can happen at the night show is seen within Scott’s performance. As he straps himself and a blonde women, the mother of his daughter, Kylie Jenner into the rollercoaster raised above the sea of mosh pits below, “As the opening synths swelled, a young woman with platinum blonde hair walked onstage and the audience screamed. Kylie Jenner was then buckled into a makeshift rollercoaster car. As her baby father performed one of his biggest songs next to her, she documented the entire moment on her phone and kicked her feet to the beat. They kept riding, back and forth over the roiling crowd, for three more songs.”44

References; Holmes, Charles. (2018), Travis Scott’s ‘Astroworld’ Tour is the Greatest Show on Earth. [Accessed 16/03/2019] <https://www. rollingstone.com/music/music-news/how-travisscott-became-musics-best-performer-761320/> 42

Webstar, J and Leone, F, Antidote, Sony/ATV Music Publishing LLC 43

Holmes, Charles. (2018), Travis Scott’s ‘Astroworld’ Tour is the Greatest Show on Earth. [Accessed 16/03/2019] <https://www. rollingstone.com/music/music-news/how-travisscott-became-musics-best-performer-761320/> 44

Scott goes further with connecting with his audience, breaking the barrier between singer and listener, breaking any nervous fan, him and his circus remove any shyness within the audience, to a point where individuals are leaping onto the stage. Scott in many cases stops security and allows the audience to become the performer, allow the select few to ride his rollercoasters before they are then flying off the stage, back into the crowd. “The lucky ones would be plucked out of the crowd strapped into an inverted Ferris Wheel, riding upside down while Travis performs underneath them.”45 Scott with Astroworld has now been able to full control the audience, “The difference between this tour and the shows of Scott’s past is that he now has an air of control over the proceedings.”46 These theatrics and structures within a performance allows for this sense of overbearing spectacle.

Fig 38: Travis, performing on his rollercoaster, trying to control the audience below, with the 360 rollercoaster seen behind.

Props and Spectacle Space and Scene When space is concerned, Craig emphasises the reality of stage construction, patenting stages, constructed of various screens, “Three-dimensional unit which adapts itself to the actors movements”47, creating a space that embodies the scene. Objects of an abstract nature create tone, “They stand on the stage just as they are; they do not imitate nature, nor are they painted with realistic or decorative designs. They are monotone.”48 When the live performances of today are concerned scenes are created in different ways, using a mixture of scenic theatrical ideology while asserting a carnival experience — transforming spaces into a whole performance experience — allowing for objects to be present within a space, intended for spectacle. Within Travis Scott’s performances, these objects, seen as the mechanical bird (Birds eye view Tour) and the rollercoasters (Astroworld Tour). Additionally, Travis decorates his spaces with neon graffiti, lasers and smoke machines, creating a psychedelic environment for his raging audience. Previously Kanye West used his stage as the object, using lighting and lasers contributing to spectacle, Travis on the other hand has created his objects as aesthetic elements, staging himself within. Rather then creating the abstract, Scott uses realistic elements, going against Craig’s guidance. Travis Scott, seen to already having a defined connection with his audience; this, in many aspects, is all he needs to sustain a successful performance. But with these additional implementations. Scott has been able to perform a scene of his musical narrative; living up to his lyric ‘Anything can happen at the night show’. Creating his mental vision, manifesting this within physical props, intended to create a sesne of awe. While Scott has not followed all the elements placed by Craig, his stage design has kept the core principle in place. With the removal of picturesque scene to be left for architectonic scenes. On arrival, to both tours, you being completely taken over with this psychedelic fantasy world that is Travis Scott. In birds-eye view, it was through the mechanical flying bird, although this tour lacked the entire audience immersive experience. This change in the production of Astroworld. Where the audience starts to connect with this transformed space from the initial entry of the arena, with this, Travis Scott was able to create an experience that goes beyond the norm, indirectly engaging with the audience prior to the main event, similarly done within Wagners Opera house, thus creating incredible spectacle, “The brimming entertainments of a spectacle bare the pallor of the everyday.”49

Fig 39: Travis Scott, Astroworld, 2018, interacting with an audience member, following this allowing him to come on stage.

References; Gordon Craig, E, (1923), Scene, London: Humphrey Milford and Oxford University Press. [Accessed 27/12/2019] pg 1. 47

Gordon Craig, E, (1923), Scene, London: Humphrey Milford and Oxford University Press. [Accessed 27/12/2019] pg 1. 48

Rockwell, D and Mau, B, SPECTACLE, London: Phaidon Press Limited. [Accessed 26/12/2019] Pg 153. 49

Fig 40: Travis, performing on his mechanical bird. Birds Eye View Tour, 2017.

Fig 41: Entrance to Scott’s Astroworld, 2018, Madison Square Garden. Individuals have to walk through the mouth of Scotts enlarge head.

Fig 42: The atmosphere of Astroworld. With Scott placed within the roller coaster and Inflatable oversized figures present.

Digital Presence, Immersion and Connection Introduction Fig 43 (left): Drakes Boy Meets World Tour, projecting onto a sphere.

Technology during the modern movement of theatre and opera replaced the mechanical objects within spatial design to create a spectacle, allowing for the attraction in viewership. Thus economic status of production increased, both compensating the expense of such spectacle, while allowing for a higher income. “Technologies and their associated aesthetics enable the replication of spectacle and, through architecture and stagecraft, establish an infrastructure of resource that facilitates and encourages further expansion.”50 Advances in construction, allowed for steel cantilevers to be produced. While advances with electricity allowed for stage light to be improved. Projection devices allowed for the creation of materialistic figures, “Technological devices and illusions of stage lighting such as Pepper’s Ghost can create objects that are not material but are perceived as material to our minds.”51 Technology has now come to a stage in which the digital presence has become part of the main attraction of the live event. While Kanye and Travis are seen to use digital equipment, such as lights and lasers, Drake is seen to create atmosphere within his spaces, employee drones, floating objects and projection, allowing for connection between artist and audience to occur from every angle.

References; Mckinney, J, Palmer, S, and Baugh, C Scenography Expanded: an introduction to contemporary performance design, London & New York: Bloomsbury Publishing Plc. [Accessed 28/12/2019] pg 23. 50

Mckinney, J, Palmer, S, and Shearing, D Scenography Expanded: an introduction to contemporary performance design, London & New York: Bloomsbury Publishing Plc. [Accessed 28/12/2019] pg 157. 51

Digital Presence, Immersion and Connection Drake: Boy Meets World Tour (2017) Events of today now capitalise on the use of digital media, to create spectacle, not only this, buth digital equipment cost less to transport and function then its physical predecessors. When compared to a physical objects, one digital device is capable to create multiple scenes of spectacle, attracting an audience member from every angle. Global Artist Drake creates a sense of attraction with a significant use of digital projection. With the use of both static objects and kinetic objects. Drake has been able to create a transcending experience catering to all, present within the audience. The production of Drakes music focuses on rhythm and movement, his songs such as, ‘One Dance ft. Wizkid & Kyla’ and ‘Controlla’ exudes euphoria, almost pushing the spectating audience out of their seats, ordering them to move with the music. Drake is seen to use Wagner’s idealism of immersion and entire focus on the performance, although done with a digital mindset. During Drakes international tour, Boy meets World (2017), the technical design of the set, Guy Pavelo, GP-SK Design, noted that the attraction with the audience was the fundamental essence of the design. Taking inspiration from the U2’s 360 tour, the stage was to be centralised, creating a large focal point within the arena. Coming off from the previous Summer Sixteen tour (2016); which was to present the latest album’s, ‘Views’ (2016) and ‘more life’ (2017), the reuse of design elements of the ‘Death of the sun’, creating both the focal point and also a three-dimensional backdrop for the performance. On this inflated spherical surface images of celestial objects were project, allowing Drake, the ‘Boy’ to meet the World. Whist a sense of focus, is determined in the Summer Sixteen Tour, the sense of connection, interaction and immersion was lost. Designers, Guy Pavelo, Lewis James and the further team, created a new device that would accommodate this lost array of connective sensations. One thousand kinetic balls became introduced within the Boy meets world design, giving a nod to Richard Schechner’s environmental theatre (1994) which, “Offers a spatial frame presented through a series of ‘transactions and exchanges’.”52

Fig 44: Drakes Boy Meets World Tour, performing infront of the Dying sun, creating a large focal point.

Fig 45: Drakes Boy Meets World Tour, while performing the spherical balls start to form shapes in the space above.

References; Mckinney, J, Palmer, S, and Shearing, D Scenography Expanded: an introduction to contemporary performance design, London & New York: Bloomsbury Publishing Plc. [Accessed 28/12/2019] pg 139. 52

While performing towards the end of his set at his Auckland New Zealand show, the lights seemed to dim. His already excited audience, roared with fanatic screams, as the music introduces itself into the arena, the megastars backup dancers come into view, Drake starts performing: “Right, my yiy just changed You just buzzed the front gate I thank God you came”53 As the song begins, all eyes trying to focus of Drake, a small ant in a field, to the audiences vision, this interaction, is seen to strengthen and weaken as Drake performs around the central stage, a tremendous spectacle then takes place. In the dimmed arena, the 1000 kinetic balls drop down, forming an arch, a glow of pink hue changes the tone of the space, these illuminated balls, flicker with the music, moving up and down as the song continues, the feelings of immersion occur, as crowds are focused on the music, and not the view of the artist. The performance has altered from the single singer to the movement of the music pronounced by the floating objects. “Combine the act of immersion - being submerged in an alternative medium where all the of a sense are engaged and manipulated - with a deep involvement in the activity within that medium.”54 Drake has done this by adding to the sense of hearing, becoming something heard to now also being seen and felt. Fig 46: Drakes Boy Meets World Tour, while performing the spherical balls start to form shapes in the space above. Fig 47: Drakes Boy Meets World Tour, while performing the spherical balls start to form shapes in the space above.

References; Drake, Controlla, Cash Money Records, Young Money & Republic Records 53

Mckinney, J, Palmer, S, and Shearing, D Scenography Expanded: an introduction to contemporary performance design, London & New York: Bloomsbury Publishing Plc. [Accessed 28/12/2019] pg 141. 54

Digital Presence, Immersion and Connection Drake: Aubrey and the Three Migos(2017) Drake has gone further with has utilising of digital effects in order to create three-dimensional spaces and objects. Willo Perron, the creative director behind the tour, mentions, “Two hundred drones, a digital LED floor and a flying yellow Ferrari were among the visual tricks used.”55 The layout of the stage allowed for 360 views, creating for the audience a front-row experience from every angle. The stage, which in essence is a large screen, with sensors built-in, allows Perron and Drake to create different visual references. This way, Drake connects to all members of his audience, “The show is super democratic. If you sit in the seats, you’ll have a great visual thing, and if you’re on the floor, you’ll have a great connection”.56 Individual tracks within the set would have different visuals, by using an image that rotates, allowing for a threedimensional object to be created, for example, the track Nonstop, seated a rendered 3D scorpion in a box, which refers to drakes album titled, Scorpion. Lights mounted on drones were not only utilised in creating ambience within the dark arena but also were used to form shapes during individual sections of the show. As well as the 200 drones, a flying yellow Ferrari, is seen floating above the audience.

Fig 48: Drakes Aubrey and the Three Migos tour, showing the half time show, where the stage becomes a basketball court.

As the show begins, the lights are dim, “Drake hits the stage via a performer lift with an Austrian curtain shielding the stage. The curtain displays video content of Drake’s silhouette as he raps the lyrics of “8 out of 10.””57 “Too rich for who? Y’all just got rich again Who grips the mic and likes to kill they friends? I’ve never been the type to make amends If shit was at a eight, we like to, we like to, we like to—“58 After this short introduction, the Austrian curtains rise, revealing Drake and his illuminated screen stage, the production held 31 Nav hoist, for the steel infrastructure, pyrotechnics, lighting chandelier and lasers. These lasers with the screen floor, during the half time show, created a basketball court, “Drake’s video stage is transformed via video content, into a near regulation basketball court and a basketball hoop lowers onto the stage. With the court lines lit up, Drake challenges his all-star guests to shoot baskets from the half court line with monetary incentives.”59

Fig 49: Drakes Aubrey and the Three Migos tour, The beginning of the show, the lowering of the Austrian Curtain. References; Yalcinkaya, Gunseli. (2018), Drake’s “super democratic” tour feature 200 drones and a flying Ferrari. [Accessed 28/12/2019] <https://www. dezeen.com/2018/11/30/drake-migos-tour-willoperron-set-design-drones-flying-ferrari/> 55 56

Tait Towers.(2018). Drake: Aubrey and Three Amigos Tour [Accessed 28/12/2019] <http:// www.taittowers.com/portfolio/drake-aubrey-threeamigos-tour-2018/> 57 59

Drake, 8 out of 10, Cash Money, Young Money & Replublic Records 58

Fig 50: Drakes Aubrey and the Three Migos tour, 3d images are displayed within the flat stage floor, giving visuals to all members of the audience.

Digital Presence, Immersion and Connection Immersion Over Connection With Drakes two sets, there is a difference in the way interaction with the audience is created. While both do create a sense of visual involvement, both differ with their techniques. The use of static digital projection and the use of Kinetic lighting can be seen in both case studies. While both tours create an experience, there is a clear distinction between which is immersive and which is attentive. In theatre, Josef Svoboda, attempted to go beyond Craig’s initial concept, creating a kinetic mobile stage picture, altering, in line with the drama, which “Solved the problem of how, with the aid of light… to give even the decor a dimension of time.”60 This theory by Svoboda views in many ways, recreated in the modern era of performance, Drake, with his adaptive globe for the Boy meets world tour, which sees to project images of celestial objects. His latest tour, Aubrey and the three Migos, where his pressure-sensitive stage screen projects to the audience. The idea of Kinetic’s is only indeed seen in the Boy Meets World tour, with lit balls within the arena space. With this, immersion plays a more significant role in the creation of spectacle and audience, performer connection. “I like the fact that it’s a different experience no matter where you are. If you are on the floor you’re heavily immersed in everything overhead. Sure, you can’t see some of the graphics, but you’re in it, you could practically touch it.”61 Allowing for a visual play to unfold for the seated audience. Drakes tour, ‘Aubrey and the Three Migos’ did have these connective feeling, giving alternative experiences to its seated and standing members, but it lacked the immersive personal experience. When I went to the see the international Aubrey and the Three Migos tour, named assassination vacation at the O2 arena. The standing areas felt connected to Drake, for moments he drew closer to the end of the stage when this was not the case, the energy within the audience is what created the enlightened experience as circles would form creating mosh pits. This lack of flying objects or closer connection, created for a lack of a personal experience but allowed for a more significant group experience to surface.

Fig 51 (right): Drakes Boy Meets World Tour, as the performance occurs the floating balls drop down moving with the music, immersing the audience. References; Bergman, M G. (1977). Lighting in the Theatre, Almqvist & Wiksell International. [Accessed 29/12/2019] pg. 338. 60

Barker, C. (2017). Designing Drake’s ‘Boy Meets World’ Tour. [Accessed 29/12/2019] <https://www.semipermanent.com/articles/DrakeStage-Design> 61

Fig 52: Drakes Boy Meets World Tour, as the performance occurs the floating balls drop down moving with the music, immersing the audience.

Stage Design and Layout Introduction As seen previously in theatre auditorium design, layout of the stage has gradually developed, from the Elizabethan open-air playhouses. Allowing for audience to spectate the drama unfolding from tiers of stands surround an thrust stage, to the traditional picture frame stages, such as the Palais Garnier and Wagners Festspielhaus in Bayreuth. As mentioned in chapter 1, Wagner sought to remove the lavish ornateness, allowing for focus and absorption of the music drama, “Wagner totally removed the ornate gilded and decorated proscenium arch, allowing the termination of the walls and ceiling of the auditorium to form the frame of an opening on the stage.”62 Going further Wagner sought to create an invisible orchestra, by placing then under the stage. In doing so, creating an “Elegant and effective purification of the picture-frame stage.”63 With this first evolution of stage design, a result of immersion to be conceived, allowing for complete surrender to the Genius that is Wagner. As technology evolved, so did stage design, racked stages became flat stages, allowing for more massive props and sets to placed, creating gigantic spectacle. The revolving stage in Munich (1896) became available, allowing for the placement of two sets to be utilised in one drama. Further, into the evolution of the modern theatre, designer Guthrie in 1948 created the advanced trust stage, producing, “A whole generation of new theatres, new in form and character and yet grounded in an ancient tradition.”64 These stages are seen to create a direct relationship between the audience and the actor, Guthrie describes this to be done by the audience, “Seated around three side of the stage they focussed upon the actors in the brightly lift acting area, but the background was of dimly lit work of people similarly focussed on the actors.” 65 There seems to be a trend that rose from the new movement in theatre design, an anti-pictorial, creating a narrower concentration on, character and text,66 with this we see the development of modern stage designs, that are in essence new thrust stages. However, how does this development correspond to the new performance spaces of musical artists of today? Has the new 21stcentury evolution in stage design deterred from the act of performance? Is the audience’s attention fully engrossed within the performance? Why has this change in design occurred?

Fig 53 (right): Image of Modern thrust stage (pasant theatre), similar to Guthrie’s intended design. References; Baugh, C. (2005). Theatre, Performance and Technology: the development of scenography in the twentieth century. Hampshire & New York: Palgrave Macmillan. [Accessed 26/12/2019] pg. 147. 62

Baugh, C. (2005). Theatre, Performance and Technology: the development of scenography in the twentieth century. Hampshire & New York: Palgrave Macmillan. [Accessed 26/12/2019] pg. 147. 63

Mackintosh, Iain. (1993). Architecture, Actor & Audience. London: Routledge. [Accessed 13/12/2019] p. 54. 64

Mackintosh, Iain. (1993). Architecture, Actor & Audience. London: Routledge. [Accessed 13/12/2019] p. 54. 65

Mackintosh, Iain. (1993). Architecture, Actor & Audience. London: Routledge. [Accessed 13/12/2019] p. 51. 66

Stage Design and Layout Audience as the Performance Audience is always the main focus in performance when the audience becoming involved, as the performance transcending waves of emotions exuded. Kanye West with his most successful tour, Saint Pablo in 2016, saw a new typology of stage design. The floating stage of Wests Saint Pablo tour allowed for the most active experience,67 floating above the audience, spotlighting groups as they rage in circles of mosh pits below. This stage, an evolution with the advancement in structural technology, has allowed for West to control chaos below, as West moves around the arena space, the standing audience, seen to move along the beam shining down. This stage is a complete contrast to West previous, of the Yeezus Tour (2013) which is essence was a traditional thrust stage, altering the engagement West desired. “If 2013’s Yeezus Tour was an operatic experience that was more about the performance aspect, 2016’s Saint Pablo Tour is an active experience that is more about creating a Disneyesque attraction.”68

Fig 54 (left): Image of Kanye West’s Floating Stage, that allows to spotlight the audience below, making them the show. References; 67 Ahi, J and Karaoghlanian, A / Interiors. (2016). INTERIORS: Kanye West’s Saint Pablo Tour. [Accessed 16/12/2019] <https://www.archdaily. com/798543/interiors-kanye-wests-saint-pablotour >

The design consists of two staging elements, its main stage and a secondary stage. Both stages lofted above the audience with a simple track and pulley system. While in discussion with TresK House, the design firm behind the tour, they announced that the set is, “Designed with Wests vision in mind, the custom fabricated truss insured the safely of the audience below, weighing over 4000 Lbs, the floating system itself included 32 edge lights and 64 downlight.”69 including the ‘Hovercraft’ on which West performed, there was a total of 690,000 watts of power within a gridding hanging system.70 With this creation, West not only created spectacle with every movement, but his stage design allowed for a truly immersive experience. Causing the individual to feel as if they are performing with the artist, breaking down the social hierarchy without creating chaos.

68 Ahi, J and Karaoghlanian, A / Interiors. (2016). INTERIORS: Kanye West’s Saint Pablo Tour. [Accessed 16/12/2019] <https://www.archdaily. com/798543/interiors-kanye-wests-saint-pablotour > 69 TrasK House. Email Exchange with Hardik Patel (23/11/2019) 70 TrasK House. Kanye West: Saint Pablo Tour. [Accessed 26/12/2019] <https://www. traskhouse.com/building-experiences/8o4qjckepl oz6405yib338sxmi1yt9>

Stage Design and Layout Controlling the Chaos Chaos and fandom with controversial artists is always a present aspect of live performances. Rowdy audiences intoxicated with the music and substance is what is drives the craze within night shows — causing the artists and members of the more extensive staff to struggle in controlling the chaos that ensues. The Beatlemania craze is the initial witness of the overwhelming behaviour, that causes performance failure. Stage design and architecture not only plays a role in the maintenance of the performance but also allows for the chaos to be dispersed, unfolding in a diluted sense around the staged area, rather than in a concentrated area in front. As seen within the 360 tour, “Far more people being in a better, closer relationship that in the customary proscenium archtype stage at one end of the field.”71 While this is a common practice now to disperse the stage to allow control, Travis Scott relies on the chaos of the audience for the performance. The type of music produced by Scott, with roaring beats with hints of psychedelic rhythm, mixed in the auto-tuned lyrics of Scott, his audience is seen to always ensue in a rage of mosh pits. Scott usually seen to perform on two-tier modified thrust stage. Allowing for a connective experience with his audience, who without the theatrics of the night show are seen to have a euphoric connection with Scott. “He is one of the only artists, that when he comes in, he can vibe with every single person in the audience.”72 Scott in many ways needs the simple stage at one end of the arena, not to reduce chaos but the create more chaos, “I like seeing the fans, that a show in my opinion, to see people rock and to fly, that’s like its own show.”73 Travis Scott, in many ways, does enjoy the chaos of his audience. However, when the audience becomes uncontrollable, Scott has to create guidance, “Instead of just playing the part of whipping the crowd into a frenzy, he stopped several times to crowd direct, to make sure everyone could “rage” safely.”74 His latest tour, Astroworld: wish you were here, now with the idea of controlling chaos, utilises a secondary device. With his rollercoaster that stands directly above the audience, “The difference between this tour and the shows of Scott’s past is that he now has an air of control over the proceedings.”75

Fig 55: The Beatles at Shea Stadium, which failed in controlling the chaos of its audience.

References; Kronenburg, Robert (2012). Live Architecture: Venues, Stages and Arena for Popular Music. London & New York: Routledge. [Accessed 12/11/2019] p. 189. 71

Random Fan, Netflix. (2019) Astroworld: wish you were here documentary. 22:11mins [Accessed 25/12/2019] 72

Scott, Travis. Netflix. (2019) Astroworld: wish you were here documentary. 22:23mins [Accessed 25/12/2019] 73

Holmes, Charles. (2018), Travis Scott’s ‘Astroworld’ Tour is the Greatest Show on Earth. [Accessed 16/12/2019] <https://www. rollingstone.com/music/music-news/how-travisscott-became-musics-best-performer-761320/> 74

References; TrasK House. Email Exchange with Hardik Patel (23/11/2019) 76

Fig 56: Travis Scott, using his aerial power to control the chaos, creating it when the energy dies down.

This secondary performance space is unlike anything seen previously in theatre, but now shows the entry into a new realm of entertainment. Where anything can happen at the night show, while in conversation with designers TrasK House, the idea of creating a theme park as the venue for a concert was the central scenic concept; creating phenomenal oversized objects within space. Similarly to Royal de Luxe, ‘The Sultans Elephant’, TrasK House, went further saying, “the custom steel one way rollercoaster, which has the ability to drop down grabbing Travis, was intended with other set elements to create a sensory overload.”76 A balance is seen within the set, where elements are presented to create chaos, also having a double use, allowing for Scott to control the immense frenzy of the audiences.

Stage Design and Layout Engaging With Everyone Just how Scott and West have allowed for the creation of an engagement with their audience. They are focusing on the audience members that purchase standing tickets, lacking the experience for the members who are seated around the arena. Drake is seen catering for both, creating shows that engages directly, from every viewing angle a show can be seen. Done with both the help of digital projection and mechanisms, but is also with the design and layout of the stage. Perron, stage designer for Drake’s, Aubrey and the Three Migos tour, told Dezeen, “The show is super democratic. If you sit in the seats, you’ll have a great visual thing, and if you’re on the floor, you’ll have a great connection.”77 The stage layout of Drakes tour is technically seen an evolved thrust stage, with the down, centre and upstage being rolled into one platform, comparing this to his last tour, Boy meets world, which shows to have a 360-degree circular stage. Both being flat stages and centralised, allow for a front-row experience for the audience. ”It’s basically all a giant front row. In a traditional show, you have maybe 100 people in the front row, whereas this is a couple of thousand.”78 Even when this occurs, the experience for the seated and standing members is very different. “I like the fact that it’s a different experience no matter where you are. If you are on the floor you’re heavily immersed in everything overhead.”79 The idea of two experience allows for spectators of two different natures to become accommodated. With the spectacle of the large flat screen stage, it is producing three-dimensional holograms for the seated, less energetic audience. In contrast, with the immersive engagement of the standing audience with the artist, being front row at every position of the stage. When comparing these three spaces, we notice the music these artists create has had a direct influence on the spaces they provide for their audience. Kanye with his upbeat tones catering to evoking past emotions of happiness, to Travis Scott, whose work provides a high energy performance, to Drake and his rhythmic flow, which makes individuals want to move. All three stages cater for the audience and go beyond, creating a sense of spectacle and immersion.

Fig 57: U2 360 tour, which saw a circular stage, centralised within the arena space, allowing for engagement with all.

Fig 58: Drake, Boy Meets World Tour, also showing this centralised stage, allowing for engagement will all. References; Yalcinkaya, Gunseli. (2018), Drake’s “super democratic” tour feature 200 drones and a flying Ferrari. [Accessed 17/03/2019] <https://www. dezeen.com/2018/11/30/drake-migos-tour-willoperron-set-design-drones-flying-ferrari/> 77

Yalcinkaya, Gunseli. (2018), Drake’s “super democratic” tour feature 200 drones and a flying Ferrari. [Accessed 17/03/2019] <https://www. dezeen.com/2018/11/30/drake-migos-tour-willoperron-set-design-drones-flying-ferrari/> 78

Barker, C. (2017). Designing Drake’s ‘Boy Meets World’ Tour. [Accessed 29/12/2019] <https://www.semipermanent.com/articles/DrakeStage-Design> 79

The Performance of Today To Conclude Live performance music and its relationship to theatre shows to have a close bond, both using similar techniques to connect with its audience. From drama with prose and dramatic structures, to objects that create spectacle. Digital technology creating atmosphere and then to the overall stage layout and design, allowing connection to occur with everyone spectating. Immersion and spectacle, are the critical components within the performance at the night show, creating a world that grasps an individual from the every day into the fantasy. When compared to Opera and musical drama, such as Wagner and Giuseppe Verdi; In which the music track by track, creates an immersive mental journey. The artists of today, are seen to create a similar journey but bring the mental into the physical, this begs the question has live performance of today now become the new musical drama?

Fig 59: Travis Scott, the image that he used to introduce the return of Astroworld, his Astroworld, the fantastic playground that is in Travis Scott’s Mind.

III CHAPTER III Live Performance of the Future

Introduction to Live Performance of the Future Live music is now a roadshow industry, packing, and unpacking the kit when arriving to the venue, creating consistent productions at every venue. Growth within music and the nature of performance is always evolving, from old road shows to housed performances of musical dramas, small scale venue performances in bars. Evolution of production is inevitable; the era of rock and roll, during the 70s and 80s showed that this setting could arrive from a small scale venue into something more substantial. This evolution has now gone further with the hip hop genre, creating immersive spectacular performance, taking individuals into dreamy realities of the performing artists. The question of how are these live performances going to evolve next?

The Spectacle of the City An emergence of a new kind of performance has been occurring with the prominent artists of today. A celebration of cities, in the context of festivals, this new wave of performances now draws in massive crowds with gigantic spectacle. Currently, performers such as Drake and Travis Scott have created their festival experiences, respectfully in Toronto and Houston, with new arrivals of hometown festivals arising, such as J Coles second Festival DreamVille Fest in 2020.80 While these shows are represented to be large celebrations, they lack the intermit connection present in arena shows. On the other hand, these festivals are not trying and achieve this relationship, as the hometown of any prominent artist will be supportive. “OVO is a family thing even if you aren’t OVO. It’s a Toronto thing. Everybody in (and outside) of this city knows what it feels like to be in that crowd. It’s the story you’re going to tell your kids in 20 years about so and so popping up, and you and your best friend making eye contact, shaking, pushing and shoving each other while you hold each other up and spit every bar of every song together. What does it mean to the city? You’ve never been to the city if you haven’t been to OVO. Thank you Drake.”81

References; Ruiz,I M. (2019). Pitchfork. J. Cole Announces Dreamville Music Festival 2020. [Accessed 29/12/2019] <https://pitchfork.com/news/j-coleannounces-dreamville-music-festival-2020/> 80

Cruz, J. (2017). Hypebeast. Find Out What OVO Fest Means to the City of Toronto. [Accessed 29/12/2019] <https://hypebeast. com/2017/8/drake-ovo-fest-2017-pictures-fanreactions> 81

Performing to the City Both Drake and Travis Scott have moved their performance style catering for the masses, with this they tapped into the hardcore fan base of the city, with a connective power that is unrivalled. Astroworld Festival 2019, which sees its second birthday, Scott, has the same vision, regenerating the previous Houston loved theme park, Six Flags: Astroworld. With this, Scott wanted to exude the experiences he felt as a child to his audience. TrasK House, the designers for the Festival, transpired the idea of spectacle with many techniques. Firstly this being an open-air performance, the ability to hoist the rollercoaster that sits above the audience, would not be possible, therefore for control of the high energy audience; therefore a thrust stage protruding from the flat upstage is utilised. Secondly, towards the end of this thrust stage, lies Scotts 360 upsidedown rollercoaster, which creates both excitement and terror when ridden. Surrounding the performance space, which caters for the 40,000 attending, lies various fair rides, including a Ferris wheel and Carousel. “Festival-goers were treated to multiple amusement park rides and games, including a full-size Ferris wheel, drop tower, and carousel.”82 With this design layout, the idea of connecting with the artist is lost, and the idea of memory and the emotions tied are evoked. Ideas of being immersed with the environment, once again involving Richard Schechner’s environmental theatre that: “Offers a spatial frame presented through a series of ‘transactions and exchanges’. The environment is what surrounds, sustains , envelops, contains and nests these theatrical exchanges. In the environmental tradition, the production elements no longer need to support a performance, nor are they to be subordinated to a theatrical text, and can, in some situations be more important than the performers.”83 Scott going further and beyond the standardised assumption of Festival as the years go on, Scott’s manager discussed with Forbes that, “Travis transcends hip-hop and is one of the biggest artists in the world, but still curates everything about the festival. He’s already thinking of ways to make it even bigger next year.”84

Fig 61: Travis Scott’s entrance of Astroworld fest, mimicking the original Astroworld entrance.

References; Payne, O. (2019). Forbes. A Look at Travis Scotts Second Annual Astroworld Festival by the Numbers. [Accessed 29/12/2019] <https://www. forbes.com/sites/ogdenpayne/2019/11/08/alook-at-travis-scotts-second-annual-astroworldfestival-by-the-numbers/> 82

Mckinney, J, Palmer, S, and Shearing, D Scenography Expanded: an introduction to contemporary performance design, London & New York: Bloomsbury Publishing Plc. [Accessed 28/12/2019] pg 139. 83

Payne, O. (2019). Forbes. A Look at Travis Scotts Second Annual Astroworld Festival by the Numbers. [Accessed 29/12/2019] <https://www. forbes.com/sites/ogdenpayne/2019/11/08/alook-at-travis-scotts-second-annual-astroworldfestival-by-the-numbers/> 84

References; Ritchie, K. (2019). Now Toronto. Review: OVO Fest 2019 was about celebrating the Raptors and squashing beefs. [Accessed 29/12/2019] <https://nowtoronto.com/music/concert-reviews/ ovo-fest-2019-drake/> 85

Fig 62: Travis Scott’s Astroworld, with the Thrust stage, the environment surrounded with the essence of joy. With fair ground rides surrounding the main spectacle space.

This idea of Environmental theatre is not only seen to be relevant in Astroworld Festival but also within Drakes OVO fest, in which he truly celebrates the accomplishments of the city, with 2019 the cities basketball teams recent championship win being the critical motive: “The intro was all about the Toronto Raptors’ championship win: after a montage, the curtains parted to reveal a giant, glittering gold replica of the Larry O’Brien NBA championship trophy. Of course, Drake – dressed in a vintage Percy “Master P” Miller Raptors jersey – was holding the actual trophy, which he placed centre stage for the remainder of the two-hour-plus show.”85 With this celebration of cities, energy and spectacle is again created by the atmosphere of the surroundings, the large scale of these festivals, gathering tens of thousands of spectators is the element that creates this aerial spectacle. However, with this, the ls the artist, audience, direct relationship is lost.

Intimate Performance Fig 63 (left): Kanye West’s Sunday Service at Coachella, showing close members on a hillside, and the public opposite.

Fig 64: Bulgarian Convent (1999) sunrise of the New Years on Rila Mount.

Fig 65: West being immersed with his audience, made up of friends, singers and family. References; Krol, C. (2019) NME. Kanye West leads Sunday Service with gospel versions of his songs [Accessed 29/12/2019] <https://www.nme.com/ news/music/kanye-west-leads-sunday-servicewith-gospel-versions-of-his-songs-2428028> 86

Moore, S. (2019). NME. The best moments from Kanye West’s ultra-exclusive ‘Sunday Service’ live events. [Accessed 29/12/2019]. <https://www.nme.com/blogs/nme-blogs/kanyewest-sunday-service-best-moments-2463373> 87

TrasK House. Kanye West: Sunday Service Coachella. [Accessed 29/12/2019] <https:// www.traskhouse.com/building-experiences/ orltdyjukpbzwvzzhiu6vdbfmzjceb> 88

While we see live performances change and expand for the masses, becoming spectacle based festivals, other artists are taking a different approach to the future, contrasting the festival events. Allowing for complete connection with the artist, fully submerging within the music, and less on the nature of aesthetic. After a complicated 2018, full of mental health issues; Kanye West moved out of the spotlight in 2019, focusing on his mind and religion. Releasing two albums revolving around Christ, “Kanye West treated fans to gospel versions of his songs in a new event dubbed the Sunday Service.”86 With this service, occurring roughly every weekend, West, sees to use connection with other beings, in order to connect with God, within this production of a ceremony. Similar to what is seen in at a Bulgarian religious convent (1999), on the sunrise of New Year’s on Rila Mount. This new approach to live performance, the inviteonly service shows the idea of intimacy. “These exclusive, invite-only events typically see the rapper and producer leading a full live band and choir, all decked out in pure white colours and box-fresh Yeezys, as they deliver an array of uplifting reinterpretations of tracks.”87 These events, which, seen to have no broadcasting, switches locations weekly, travelling across the United States, allowing for interactions with as many members as possible. The underlying popularity of the event, gaining attention through Instagram, came to a peak, as a request from the week-long Festival Coachella invited West to do a public performance of his Sunday Service. The performance which took place on Easter Sunday, 21st April 2019, was close to being pulled out, with the last minute ‘stage’ design West intended for the performance, TrasK House, undertook the project, creating a large hill on which to perform on top. “Kanye West wanted to perform at Coachella but couldn’t be constrained to a rectangular box.”88 The natural stage, constructed over 135 hours, being worked on 24/7, for Easter Sunday for when Kanye, his Choir and his close friends and family join to create a public spectacle. The service, similar to Burning Man is evidence of a utopian imagination, a public connection. This Utopian public spectacle also occurs in Florence’s Calcio Storico, “Each June, the Renaissance comes alive on the Piazza Santa Croce as it stages a game borrowed for the sixteenth century.”89 This connectivity that contains the bare minimum external aesthetics create not only spectacle in its own right, but also allows for the immersive group experience, connecting with the artist. Now begging the question is this intimate performance style the future of musical dramas, or are the large Festival like performances?

Rockwell, D and Mau, B, SPECTACLE, London: Phaidon Press Limited. [Accessed 26/12/2019] Pg 121. 89

Conclusion The New Theatre Experience What we have seen throughout this dissertation is how certain design elements in the architecture of music have created transformative experiences for its audience — analysing early Operatic theatres and performance spaces, the design quality for a successful performance is concentration and immersion of music. Controlling of large audiences within the genre of Rock and Roll, analysing the live performances of today in Hip Hop and speculating on the future of this genre; determined how theatrical techniques shaped the music industry today, in terms of live performance. Creating an essence of the narrative architecturally, team members of, set designer Es Devlin, who previously worked with West, mention in a lecture,“Es thinks about how she express part of the story through the architecture she creates for the artists.”90 It is analysing the past engagement of the Opera or lack of engagement with members of the audience; that shows musical performances were used as a way for the audience to interact with one another, in some ways neglecting the artists. This can be seen to change with the wave if the rock and roll movement, as music was used to more as a political statement, with sets reflecting a narrative. The rise of dramatic sets, from Mark Fisher, for bands such as U2, furthered the progression of the architecture of live performances, influencing the next generation of artists. This idea of the audiences transcending into the fantasy world of the artist’s vision has genuinely become exaggerated with modern Hip hop artist.

Fig 66: Debussy’s Parsifal, Wagner, using Church music with the drama.

Through the detailed analysis of significant moments with the live performances of artists of today, Kanye West, Travis Scott and Drake, we can conclude they successful create an atmospheric experience for there audience, but its this on par with the experience of Theatre and Opera. They conceive and excel with elements that showcase the connective, immersive and spectacular qualities within their live performances. Focusing on the scenographic qualities that go beyond the standard lighting and sound systems, focusing on dramatics, use of objects within space, the digital presence and the stage layout. With this, each element has shown to connect with traditional aspects of Theatre. With the performance of today allowing for an immersive, connective and spectacle based experience, key elements present in the operatic music drama. The question now arises, is the live performances of today the new theatre experience? Where the qualities are the same, with narrative and emotion, has the musical drama of the past, now become replaced with the live music shows of today?

Fig 67: Kanye West, downstage, narrating his live Opera, Mary, with his Sunday Service Choir. References; Weston, Machiko. (2018), Es Devlin Studios Lecture at University of Westminster. [14/03/2019]. 43:27 mins 90

When analysing the elements of live performance, with the idea of music being the diction, the similarities within the two are very noticeable. With future speculation of live music, now becoming a celebration of some sort, with Kanye Wests Sunday Service and the city festivals, the idea of a musical drama is removed, only using the essences of, immersion, connection and spectacle. The dramatic elements of drama; plot, character, theme, diction, melody and spectacle are not always fully developed in many of the live performances. Even though the presence of melody and spectacle dominate the production of today’s event, these aspects of Aristotle’s dramatic elements does not lead to the lacking of a dramatic production. However, this experience of performance is catered for the audience of today, unlike the audience of the past, for example Paris Opera House attendants, are seen to be engrossed in the idea of viewing and being viewed. The audience of today are concerned about the energy of the events that transpire during the night show; the spectacle and the immersive nature and, overall connection with their Hip Hop idols. Even though the nature of live music has changed, these creative artists are now endeavouring in creating spectacles that relate to ‘traditional’ theatre performances. Kanye West being at this artistic forefront recently, performing his new Opera at Art Basel on December 8th 2019. The production, titled, Mary; “Mary opens with an assemblage of performers in flowing robes and silver face paint walking across a floating platform to a barge anchored in the water. Singers unleash their voices in unison; hymns radiate from the stage. West sits, obscured by the speakers, reading a Biblical account of the Virgin Mary’s encounter with the archangel Gabriel.”91

Fig 68 (left): Sunday Service Choir singing as West narrates downstage. References; Kendall,J. (2019). Vogue. Kanye West on His New Opera Mary, Transformation, and Grace. [Accessed 29/12/2019] <https://www.vogue. com/article/kanye-west-interview-mary-opera> 91

Kendall,J. (2019). Vogue. Kanye West on His New Opera Mary, Transformation, and Grace. [Accessed 29/12/2019] <https://www.vogue. com/article/kanye-west-interview-mary-opera> 92

The audience, seen to be in awe, hold up their hands either fulfilled with their smartphones or the praise of God. West’s reasoning for this operatic performance, reflecting on his past within his genre of rap, reveals that, “He wants to use the grand medium of opera to make music that is a “beacon of light.”92 Now connecting with the religious members in his audience, moving from his vulgar past to a new future. When this new theatre experience is concerned, the notion that replacement has occurred is partially true, but now accommodating for a new audience, a younger generation, controlled by unimaginable theatrics, a life of spectacle. The new experience of theatrical/musical drama witnessed has become more interactive, immersive and connective. Nevertheless, this future musical experience is also in a balance, performances on a city scale to the exclusive intimate performance. The theatrical events of live music has now seemed to take upon an evolution, although with West’s recent Opera, this evolution may seem to be cyclical.

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25. Holmes, Charles. (2018), Travis Scott’s ‘Astroworld’ Tour is the Greatest Show on Earth. [Accessed 16/03/2019] <https://www.rollingstone.com/music/ music-news/how-travis-scott-became-musics-best-performer-761320/> 26. Gordon Craig, E, (1923), Scene, London: Humphrey Milford and Oxford University Press. [Accessed 27/12/2019] 27. Drake, Controlla, Cash Money Records, Young Money & Republic Records 28. Yalcinkaya, Gunseli. (2018), Drake’s “super democratic” tour feature 200 drones and a flying Ferrari. [Accessed 28/12/2019] <https://www.dezeen. com/2018/11/30/drake-migos-tour-willo-perron-set-design-drones-flyingferrari/> 29. Tait Towers.(2018). Drake: Aubrey and Three Amigos Tour [Accessed 28/12/2019] <http://www.taittowers.com/portfolio/drake-aubrey-threeamigos-tour-2018/> 30. Drake, 8 out of 10, Cash Money, Young Money & Replublic Records 31. Bergman, M G. (1977). Lighting in the Theatre, Almqvist & Wiksell International. [Accessed 29/12/2019] 32. Barker, C. (2017). Designing Drake’s ‘Boy Meets World’ Tour. [Accessed 29/12/2019] <https://www.semipermanent.com/articles/Drake-Stage-Design> 33. TrasK House. Email Exchange with Hardik Patel (23/11/2019) 34. TrasK House. Kanye West: Saint Pablo Tour. [Accessed 26/12/2019] <https://www.traskhouse.com/building-experiences/8o4qjckeploz6405yib338 sxmi1yt9> 35. Scott, Travis. Netflix. (2019) Astroworld: wish you were here documentary. 22:23mins [Accessed 25/12/2019] 36. Ruiz,I M. (2019). Pitchfork. J. Cole Announces Dreamville Music Festival 2020. [Accessed 29/12/2019] <https://pitchfork.com/news/j-coleannounces-dreamville-music-festival-2020/> 37. Cruz, J. (2017). Hypebeast. Find Out What OVO Fest Means to the City of Toronto. [Accessed 29/12/2019] <https://hypebeast.com/2017/8/drake-ovofest-2017-pictures-fan-reactions>

38. Payne, O. (2019). Forbes. A Look at Travis Scotts Second Annual Astroworld Festival by the Numbers. [Accessed 29/12/2019] <https://www. forbes.com/sites/ogdenpayne/2019/11/08/a-look-at-travis-scotts-secondannual-astroworld-festival-by-the-numbers/> 39. Ritchie, K. (2019). Now Toronto. Review: OVO Fest 2019 was about celebrating the Raptors and squashing beefs. [Accessed 29/12/2019] <https:// nowtoronto.com/music/concert-reviews/ovo-fest-2019-drake/> 40. Krol, C. (2019) NME. Kanye West leads Sunday Service with gospel versions of his songs [Accessed 29/12/2019] <https://www.nme.com/news/ music/kanye-west-leads-sunday-service-with-gospel-versions-of-hissongs-2428028> 41. Moore, S. (2019). NME. The best moments from Kanye West’s ultra-exclusive ‘Sunday Service’ live events. [Accessed 29/12/2019]. <https://www.nme.com/ blogs/nme-blogs/kanye-west-sunday-service-best-moments-2463373> 42. TrasK House. Kanye West: Sunday Service Coachella. [Accessed 29/12/2019] <https://www.traskhouse.com/building-experiences/ orltdyjukpbzwvzzhiu6vdbfmzjceb> 43. Weston, Machiko. (2018), Es Devlin Studios Lecture at University of Westminster. [14/03/2019]. 43:27 mins 44. Kendall,J. (2019). Vogue. Kanye West on His New Opera Mary, Transformation, and Grace. [Accessed 29/12/2019] <https://www.vogue.com/ article/kanye-west-interview-mary-opera>

Bibliography Image List Fig 1: Kanye West, Yeezus Tour, Verizon Center, Washington, DC, November 21, 2013. Image retrieved from: https://www.flickr.com/photos/ peterhutchins/10989960816 [Accessed 22/12/2019] Fig 2 (above): Plan of Charles Garnier’s, Paris Opera House, 1875. To scale in relationship with fig 3. Image retrieved from: https://i.pinimg.com/originals/ec/ f7/93/ecf79398a7e7fbc61476461c0074540b.jpg [Accessed 22/12/2019] Fig 3 (below): Plan of Wagner’s Festspielhaus at Bayreuth, 1876. To scale in relationship with fig 2. Image retrieved from: https://www.wikiwand.com/en/ Bayreuth_Festspielhaus [Accessed 22/12/2019] Fig 4: Illustration of Wagner’s Festspielhaus auditorium at Bayreuth, 1876. Image retrieved from: https://www.wikiwand.com/en/Bayreuth_Festspielhaus [Accessed 22/12/2019] Fig 5: Wagner’s Festspielhaus auditorium at Bayreuth, 1876, showing the removal of decorations, creating an immersive experience. Image retrieved from: https://www.welt.de/debatte/kommentare/article158290259/WieRichard-Wagner-in-Bayreuth-das-Kino-erfand.html#cs-FestspielhausBayreuth-Innenansicht.jpg [Accessed 23/12/2019] Fig 6: Oliviers Drum revolving stage, the National Theatre. (1976). Image retrieved from: https://www.telegraph.co.uk/culture/theatre/10405269/ National-Theatres-50th-Inside-the-Oliviers-drum-revolve.html [Accessed 22/12/2019] Fig 7: Charoscuro sketch of a set design concept by Edward Gordan Craig, currently at the Moma Gallery. Image retrieved from: https://www.moma.org/ collection/works/68793 [Accessed 23/12/2019] Fig 8 (right): Scenographic set design by Adolphe Appia and Gordan Craig, Orpheus, Hellerau 1913. Image retrieved from: http://socks-studio. com/2013/12/13/a-revolution-in-stage-design-drawings-and-productions-ofadolphe-appia/ [Accessed 23/12/2019]

Fig 9 (left), 10 (above), 11(below), 12 (bottom right): Images from the Beatles performance at Shea Stadium, being overwhelmed by the screaming fans in attendance. Image retrieved from: https://www.mlb.com/cut4/the-beatlesplayed-shea-stadium-50-years-ago/c-142739738 [Accessed 23/12/2019] Fig 9 (left), 10 (above), 11(below), 12 (bottom right): Images from the Beatles performance at Shea Stadium, being overwhelmed by the screaming fans in attendance. Image retrieved from: https://www.rollingstone.com/music/ music-news/why-the-beatles-shea-stadium-show-was-even-greater-thanyou-knew-227621/ [Accessed 23/12/2019] Fig 9 (left), 10 (above), 11(below), 12 (bottom right): Images from the Beatles performance at Shea Stadium, being overwhelmed by the screaming fans in attendance. Image retrieved from: http://borntolisten.com/2017/08/15/august15-watch-the-beatles-at-shea-stadium-in-1965/ [Accessed 24/12/2019] Fig 9 (left), 10 (above), 11(below), 12 (bottom right): Images from the Beatles performance at Shea Stadium, being overwhelmed by the screaming fans in attendance. Image retrieved from: https://ew.com/article/2015/08/11/beatlesshea-stadium-50th-anniversary/ [Accessed 24/12/2019] Fig 13: Pink Floyd the Wall, live in Berlin, (1979) set design by Mark Fisher. Image retrieved from: https://i.pinimg.com/ originals/0d/34/01/0d3401a85e0834093231fda5b47372de.jpg [Accessed 24/12/2019] Fig 14: Concept Sketch by Mark Fisher for the Wall, showing the teacher being replaced by a pig. Shows Berlins Past Dictatorship and the crumbling of the wall. Image retrieved from: http://www.inparkmagazine.com/theatrical-andconcert-designer-mark-fisher-passes-away/ [Accessed 24/12/2019] Fig 15: Drawing by Gerald Scarfe, showing the teacher for Pink Floyd. Image retrieved from: https://illustrationchronicles.com/How-Gerald-Scarfe-andPink-Floyd-Built-The-Wall [Accessed 24/12/2019] Fig 16 (opposite). The Hotel Rooms within the boxes present in the wall. This is where the band would play. Image retrieved from: http://www.stufish.com/ project/the-wall-1 [Accessed 24/12/2019]

Fig 17: U2, 360 degree tour, showing the Claw, grabbing the attention of the audience whilst providing a staged area for the artists. retrieved from: http:// www.stufish.com/project/360 [Accessed 24/12/2019] Fig 18: The structure of the Claw, shining a beacon towards the ending of the performance. Image retrieved from: Image retrieved from: http://www.stufish. com/project/360 [Accessed 24/12/2019] Fig 19: The Kinetic Screen within the structure of the Claw, that moves with the music. Image retrieved from: http://www.stufish.com/project/360 [Accessed 24/12/2019] Fig 20: The Claw in relation to the arena space, showing the circular stage and the hierarchy of seating. Image retrieved from: Image retrieved from: http:// www.stufish.com/project/360 [Accessed 24/12/2019] Fig 21: Travis Scott’s album cover for Astroworld, 2018. Showing his fantasy world of a psychedelic theme park from his memories as a child. Image retrieved from: https://genius.com/albums/Travis-scott/Astroworld [Accessed 24/12/2019] Fig 22 (left). Kanye stood on his mountain, mount Yeezus, looking above to the ‘heavens’. Yeezus Tour, 2013. Image retrieved from: https://www.vice.com/ en_uk/article/rb38v6/meet-the-woman-behind-kanyes-yeezus-tour-its-notkim [Accessed 24/12/2019] Fig 23 (above): Kanye West, Yeezus, 2013. Side elevation of Mount Yeezus showing the set, drawing illustrated by interiors. Image retrieved from: https://www.archdaily.com/461103/interiors-the-yeezustour/52b36e07e8e44ec6f6000077-interiors-the-yeezus-tour-image [Accessed 27/12/2019] Fig 24: Kanye West, Yeezus, 2013. being lifted as he sings, I am a God. Image retrieved from: https://www.dailymail.co.uk/tvshowbiz/article-2470094/KanyeWest-rips-leather-trousers-gig-Yeezus-Tour.html [Accessed 27/12/2019] Fig 25 (Right): Kanye West, Yeezus, 2013. Chapter 1, Fighting, moments after his reveal to the audience. Image retrieved from: https://externalpreview.redd.it/5hdDeMGB8QznWTKOTV8RWNN4pe9JicnPNP_aqEVzNKM. jpg?auto=webp&s=fc73824d0c93ea516b403a1f87f066eb62e93c97 [Accessed 27/12/2019]

Fig 26: Kanye West, Yeezus, 2013. Chapter 1, Fighting, moments after his reveal to the audience. Image retrieved from: https://www.archdaily.com/461103/ interiors-the-yeezus-tour/52b36e27e8e44ec6f6000078-interiors-the-yeezustour-image?next_project=no [Accessed 30/12/2019] Fig 27: Kanye West, Yeezus, 2013. Engaging with his audience. Image retrieved from: https://www.dailymail.co.uk/tvshowbiz/article-2470094/Kanye-Westrips-leather-trousers-gig-Yeezus-Tour.html [Accessed 30/12/2019] Fig 28 (Left): Kanye West, Yeezus, 2013. Using the Maison Martin Margiela, diamond mask to reflect laser beams. Image retrieved from: https://www. dailymail.co.uk/tvshowbiz/article-2470094/Kanye-West-rips-leather-trousersgig-Yeezus-Tour.html [Accessed 30/12/2019] Fig 29 (Left): Kanye West, Saint Pablo Tour, 2016. Just after the arrival of West, after his performance of Father Stretch My Hands. Shown the audience below illuminated with the spaceship stages grid lighting below. Image retrieved from: https://hypebeast.com/2016/11/interiors-kanyewest-saint-pablo-tour-creative-inspiration [Accessed 30/12/2019] Fig 30: Kanye West, Saint Pablo Tour, 2016. Elevation of the spaceship stage, illustration drawn by interiors journal. Image retrieved from: https://www.archdaily.com/798543/interiors-kanye-westssaint-pablo-tour/58190333e58eceeef6000173-interiors-kanye-wests-saintpablo-tour-image [Accessed 30/12/2019] Fig 31: Kanye West, Saint Pablo Tour, 2016. Elevation of the spaceship stage, pausing in a dramatic fashion. Image retrieved from: https://rapdose.com/wp-content/uploads/2016/11/kanye-west-2016saint-pablo.jpg [Accessed 31/12/2019] Fig 32: West on Mount Yeezus, as his theatrical performance of Yeezus comes to and end. Showing a direct dramatic role with acting. Image retrieved from: https://esdevlin.com/work/yeezus [Accessed 31/12/2019] Fig 33: West resting on top of his floating stage, looking below to his audience as they recite his lyrics. This image show how Kanye has been able to create a dramatic spectacle with his set. Image retrieved from: https://twitter.com/ Yeezism/status/791427442984357888/photo/1 [Accessed 31/12/2019]

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Fig 34 (left): Edward Gordon Craig’s, patent for his adaptive architectonic set. Image retrieved from: Edward Gordon Craig patent US https://patentimages. storage.googleapis.com/b0/29/bb/a7f24a52d40e44/US1022020.pdf [Accessed 31/12/2019] Fig 35: Travis on his mechanical bird, allowing a fan to perform below. This event creating a connection that will stay with the fan forever. Image retrieved from: https://www.instagram.com/p/BdItznrBuOc/ [Accessed 31/12/2019] Fig 36: Travis, performing his hit song Butterfly Effect, whilst on his mechanical oversized prop. Below lies the frenzy of rages. Image retrieved from: https://www.instagram. com/p/BYY6WudB0HZ/ [Accessed 31/12/2019] Fig 37: Travis on his 360 degree rollercoaster, which he uses to perform, onto which he straps his audience members. Image retrieved from: https://www. instagram.com/p/BrrJDN-Bp_B/ Fig 38: Travis, performing on his rollercoaster, trying to control the audience below, with the 360 rollercoaster seen behind. Image retrieved from: https:// www.instagram.com/p/BrBqF3Sh-04/ [Accessed 31/12/2019] Fig 39: Travis Scott, Astroworld, 2018, interacting with an audience member, following this allowing him to come on stage. Image retrieved from: https:// www.instagram.com/p/BrA9pBDB079/ [Accessed 31/12/2019] Fig 40: Travis, performing on his mechanical bird. Birds Eye View Tour, 2017. Image retrieved from: https://www.rap-up.com/2017/11/13/travis-scottperforms-butterfly-effect-at-mtv-ema/ [Accessed 31/12/2019] Fig 41: Entrance to Scott’s Astroworld, 2018, Madison Square Garden. Individuals have to walk through the mouth of Scotts enlarge head. Image retrieved from: https://musicfestnews.com/2018/12/travis-scott-2019astroworld-tour-dates/ [Accessed 2/1/2020] Fig 42: The atmosphere of Astroworld. With Scott placed within the roller coaster and Inflatable oversized figures present. Image retrieved from: https:// www.instagram.com/p/BqsrTgmhDjc/ [Accessed 2/1/2020]

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Fig 43 (left): Drakes Boy Meets World Tour, projecting onto a sphere. Image retrieved from: https://enfntsterribles.com/drake-wows-audience-boy-meetsworld-tour/ [Accessed 2/1/2020] Fig 44: Drakes Boy Meets World Tour, performing in front of the Dying sun, creating a large focal point. Image retrieved from: https://twitter.com/_Nick/ status/830728901374656512/photo/1 [Accessed 2/1/2020] Fig 45: Drakes Boy Meets World Tour, while performing the spherical balls start to form shapes in the space above. Image retrieved from: https:// thepartae.com/drake-boy-meets-world-tour-au-nz-kicks-off-rave-reviewsfinal-production-release-tickets-sale-now/ [Accessed 2/1/2020] Fig 46: Drakes Boy Meets World Tour, while performing the spherical balls start to form shapes in the space above. Image retrieved from: https:// thepartae.com/drake-boy-meets-world-tour-au-nz-kicks-off-rave-reviewsfinal-production-release-tickets-sale-now/ [Accessed 2/1/2020] Fig 47: Drakes Boy Meets World Tour, while performing the spherical balls start to form shapes in the space above. Image retrieved from: https:// thepartae.com/drake-boy-meets-world-tour-au-nz-kicks-off-rave-reviewsfinal-production-release-tickets-sale-now/ [Accessed 2/1/2020] Fig 48: Drakes Aubrey and the Three Migos tour, showing the half time show, where the stage becomes a basketball court. Image retrieved from: https:// www.dezeen.com/2018/11/30/drake-migos-tour-willo-perron-set-designdrones-flying-ferrari/ [Accessed 2/1/2020] Fig 49: Drakes Aubrey and the Three Migos tour, The beginning of the show, the lowering of the Austrian Curtain. Image retrieved from: https://www. dezeen.com/2018/11/30/drake-migos-tour-willo-perron-set-design-dronesflying-ferrari/ [Accessed 2/1/2020] Fig 50 (right): Drakes Aubrey and the Three Migos tour, 3d images are displayed within the flat stage floor, giving visuals to all members of the audience. Image retrieved from: https://www.dezeen.com/2018/11/30/drake-migos-tour-willoperron-set-design-drones-flying-ferrari/ [Accessed 2/1/2020] Fig 51 (right): Drakes Boy Meets World Tour, as the performance occurs the floating balls drop down moving with the music, immersing the audience. Image retrieved from: https://thepartae.com/drake-boy-meets-world-tourau-nz-kicks-off-rave-reviews-final-production-release-tickets-sale-now/ [Accessed 3/1/2020]

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Fig 52: Drakes Boy Meets World Tour, as the performance occurs the floating balls drop down moving with the music, immersing the audience.Image retrieved from: https://thepartae.com/drake-boy-meets-world-tour-au-nzkicks-off-rave-reviews-final-production-release-tickets-sale-now/ [Accessed 3/1/2020] Fig 53 (right): Image of Modern thrust stage (pasant theatre), similar to Guthrie’s intended design. Image retrieved from: https://en.wikipedia.org/wiki/Thrust_ stage#/media/File:Pasant_Theatre_from_seats.JPG [Accessed 3/1/2020] Fig 54 (left): Image of Kanye West’s Floating Stage, that allows to spotlight the audience below, making them the show. Image retrieved from: https://www. dallasobserver.com/slideshow/the-people-and-mosh-pits-of-kanye-westssaint-pablo-tour-8738459/4 [Accessed 5/1/2020] Fig 55: The Beatles at Shea Stadium, which failed in controlling the chaos of its audience. Image retrieved from: https://ew.com/article/2015/08/11/beatlesshea-stadium-50th-anniversary/ [Accessed 5/1/2020] Fig 56: Travis Scott, using his aerial power to control the chaos, creating it when the energy dies down. Image retrieved from: https://www.instagram. com/p/BqsrTgmhDjc/ [Accessed 5/1/2020] Fig 57: U2 360 tour, which saw a circular stage, centralised within the arena space, allowing for engagement with all. Image retrieved from: http://www. stufish.com/project/360 [Accessed 5/1/2020] Fig 58: Drake, Boy Meets World Tour, also showing this centralised stage, allowing for engagement will all. Image retrieved from: https://thepartae.com/ drake-boy-meets-world-tour-au-nz-kicks-off-rave-reviews-final-productionrelease-tickets-sale-now/ [Accessed 5/1/2020] Fig 59: Travis Scott, the image that he used to introduce the return of Astroworld, his Astroworld, the fantastic playground that is in Travis Scott’s Mind. Image retrieved from: https://www.msg.com/calendar/madison-square-gardennovember-2018-travis-scott-astroworld-wish-you-were-here-tour [Accessed 5/1/2020]

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Fig 60: Drake, OvO Fest 2017, celebrating his release of his most successful album, Views. The festival occurring in Toronto, has the backdrop of the CN Tower. One of the cities more notable landmarks, after Drake himself. Image retrieved from: https://hypebeast.com/2017/8/drake-ovo-fest-2017-picturesfan-reactions [Accessed 5/1/2020] Fig 61: Travis Scott’s entrance of Astroworld fest, mimicking the original Astroworld entrance. Image retrieved from: https://www.texasmonthly.com/ the-culture/travis-scott-astroworld/ [Accessed 5/1/2020] Fig 62: Travis Scott’s Astroworld, with the Thrust stage, the environment surrounded with the essence of joy. With fair ground rides surrounding the main spectacle space.Image retrieved from: https://www.texasmonthly.com/ the-culture/travis-scott-astroworld/ [Accessed 5/1/2020] Fig 63 (left): Kanye West’s Sunday Service at Coachella, showing close members on a hillside, and the public opposite. Image retrieved from: https:// people.com/music/kanye-west-sunday-service-coachella-50000-people/ [Accessed 5/1/2020] Fig 64: Bulgarian Convent (1999) sunrise of the New Years on Rila Mount. Image retrieved from: https://theculturetrip.com/europe/bulgaria/articles/ paneurhythmy-the-mystical-dance-of-the-white-brotherhood/ [Accessed 5/1/2020] Fig 65: West being immersed with his audience, made up of friends, singers and family. Image retrieved from: https://gulfnews.com/entertainment/music/ kanye-west-turns-coachella-into-a-church-service-1.63480589 [Accessed 5/1/2020] Fig 66: Debussy’s Parsifal, Wagner, using Church music with the drama. Image retrieved from: https://wpr-public.s3.amazonaws.com/wprorg/s3fspublic/field/image/Parsifal_1882_Act3_Joukowsky_NGO4p119.jpg [Accessed 5/1/2020] Fig 67: Kanye West, downstage, narrating his live Opera, Mary, with his Sunday Service Choir. Image retrieved from: https://www.nytimes.com/2019/12/23/ arts/music/kanye-west-opera-mary.html [Accessed 5/1/2020] Fig 68 (left): Sunday Service Choir singing as West narrates downstage. Image retrieved from: https://www.nytimes.com/2019/12/23/arts/music/kanye-westopera-mary.html [Accessed 5/1/2020]

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