Many modern productions of Shakespeare plays have thus eschewed the introduction of an intermission, choosing instead to perform them straight through, as originally intended. But it took sometimes as much as forty minutes for stage crew to remove the scenery, which comprised a "massive set of columns and a doorway" designed by Tobias Hoheisel, a period that was longer than the remaining length of the performance, some thirty-five minutes. This allowed the striking of the scenery. Pimlott had placed the intermission after act 4 scene 1, after the action leaves Rome. The 1991 RSC production of Julius Caesar directed by Stephen Pimlott is pointed out as noteworthy for its extraordinary intermission length.Performances of King Lear, he observed, often place the intermission "disproportionately late", after the blinding of Gloucester.It stopped halfway through act 3 scene 1, moving some of the lines from later in the scene to before the intermission. Trevor Nunn's production of Measure for Measure in 1991 is given as an example of intermissions placed in the middle of a scene.Of The Winter's Tale he noted that there was "as natural a break as anyone could wish for" before the speech of Time as Chorus, and that he had never seen a production that placed an intermission other than at that point.Reviewer Peter Holland analyzed the placement of intermissions in 1997: The placement of intermissions within those plays in modern performances is thus a matter for the play's director. The plays of William Shakespeare were originally intended for theater performance without intermissions. Broadway Bladder, and other considerations (such as how much revenue a theater would lose at its bar if there were no intermissions), govern the placement of intermissions within performances, and their existence in performances, such as plays, that were not written/created with intermissions in mind. The term "Broadway Bladder" names "the alleged need of a Broadway audience to urinate every 75 minutes".
Psychologically, intermissions allow audiences to pause their suspension of disbelief and return to reality, and are a period during which they can engage critical faculties that they have suspended during the performance itself. Performance venues take advantage of them to sell food and drink. They also afford opportunity for scene and costume changes. They also exist for more mundane reasons, such as that it is hard for audience members to concentrate for more than two hours at a stretch, and actors and performers (for live action performances at any rate) need to rest. "The characters are deemed to continue acting during the interval from one act to another." However, intermissions are more than just dramatic pauses that are parts of the shape of a dramatic structure. "The interval is a rest for the spectators not for the action," wrote Marmontel in 1763. Jean-François Marmontel and Denis Diderot both viewed the intermission as a period in which the action did not in fact stop, but continued off-stage.
It should not be confused with an entr'acte (French: "between acts"), which, in the 18th century, was a sung, danced, spoken, or musical performance that occurs between any two acts, that is unrelated to the main performance, and that thus in the world of opera and musical theater became an orchestral performance that spans an intermission and leads, without a break, into the next act. For other uses, see Intermission (disambiguation).Īn intermission, also known as an interval in British and Indian English, is a recess between parts of a performance or production, such as for a theatrical play, opera, concert, or film screening.
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