Across the channel from England, France has enjoyed a National Theatre since 1680, but the idea for a National Theatre in Britain was not considered until 1848; and it was not until 1949 that Parliament formally committed the government to its establishment. Work on the site where the NT company was formed began in 1962 and had a very distinguished ten years with Sir Laurence Oliver (made Lord in 1970) as its first director. Pending completion of the building, the "Old Vic" served as the company's home. The current director, Sir Peter Hall, who created and directed the Royal Shakespeare Company from 1960 until 1968, succeeded Olivier in 1973.
The NT is situated on the south bank of the Thames opposite Waterloo Station and enjoys a commanding view of the river and the north bank, including St.Paul's cathedral. It is part of the South Bank Arts Complex, bounded by the Royal Festival Hall, Queen Elizabeth Hall, and Purcell Room (which are largely devoted to music), the Hayward Gallery (featuring fine and visual arts), and the National Film Theatre.
Architect Denys Lasdun hopes the outside concrete surface will weather "so that in the end lichen grows on it and it becomes part of the river riverscape." Inside, the rough cast concrete expresses the architect's desire to create a sense of space; it is also excellent for the acoustics. Spacious, open foyers feature art exhibitions, bookstalls and preperformance musical recitals, and there is a variety of refreshments available in the restaurant, five buffets, and seven bars. Lasdun has succeeded admirably in his goal of creating a community feeling, and in the summer this extends outside onto the terraces. No ticket is needed to participate in these activities, and the National's welcoming attitude is reflected in its offering of extensive tours of the building. Backstage, one can visit the large workshops and rehearsal rooms, but for most people the greater attraction will be the three theaters.
The Olivier Theatre, designed to accommodate all forms of dramatic expression, is modeled after the Greek amphitheater. It seats 1,160, but it has such a concentrated intimacy that one can be seated in the rear and still feel drawn into the drama. The fan-shaped auditorium enables the audience to see all the action on stage.
The Lyttelton, seating 890, is more conventional in appearance, but its proscenium arch is adjustable, and part of the stage can be lowered to create an orchestra pit, which facilitates the staging of operas.
The Cottesloe is a relatively small room. Its two balconies on three sides place you in the midst of the action. Floor seating brings its capacity to 400, but this may be adjusted if required. In the recent successful production, The Mysteries, based on medieval morality plays, the seating was removed and the audience was able to "promenade" near the performers as in the Middle Ages.
About seven and a half million of the NT's, annual budget of twelve million comes from national and local government grants. Box office receipts make up the bulk of the rest, supplemented by television rights, catering, bookshop sales, and publishing. Seat prices tend to be less than in the commercial West End, and reductions are made for school and student parties, senior citizens, and the unemployed. The educational aspect of the NT's work is
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