Other architectural configurations in arena stages allow for podiums with lifting and dropping abilities. In such cases, the audience often rests on temporary seats that facilitate more flexibility. This configuration allows performers to understand the conditions their viewers are in while performing. Engaging the audience based on these conditions makes the performance better (Condee 9).
Better detail and expressiveness is necessary for all production factors (Collins and Kapralos). Even though the audience configuration in an arena stage is raised above the stage, their scenery is often limited to cover optimum lines of sight for viewers on all sides. This condition is different for viewers in a Proscenium Arch Stage whose lines of sight are level before a raised platform. Arena theatres often lack a fly system apart from possibly lighting purposes (Hischak 147). The requirement of giving equal lines of sight for all viewers puts distinct limits on the kind of scenery used and on the activities of the performers. This is because, certain audiences in an arena stage will inevitably be seeing an actor’s back at all times. This configuration allows for good recording and production of sound from real sources. However, certain sounds appear false when produced electronically in an arena theatre. As a result, a surrounding architectural configuration for audiences in an arena call for the building of mechanical instruments that mimic sounds like thunder and rain.
Architectural configurations carve up an understanding of the conditions audiences are in through sound reflection (Hischak 147). Sound reflection rare occurs in isolation since sound usually finds a surface on its path where refection is takes place. Knowing the arrangement of audience seats in a theatre is imperative for making predictions of the behavior of sound within that theatre. All surfaces echo and absorb sound to some