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In the past decade the National Theatre has presented two restagings of earlier productions, now featuring an onstage orchestra (the Southbank Sinfonia) that has been choreographed and made a key part of the spectacle: Every Good Boy Deserves Favour , by Tom Stoppard, with a musical score by André Previn, performed in 2009 and 2010, and Peter Shaffer's Amadeus , performed in 2016 and 2018. Contemporaneously, a vanguard of British orchestras has begun to explore how concerts can be presented in ways that are more theatrically sophisticated than the standard concert format. Here Adrian Curtin investigates 'orchestral theatre' as an aesthetic proposition by examining the collaborations between the Southbank Sinfonia and the National Theatre, and their legacy in a series of experimental concerts staged by the Southbank Sinfonia entitled #ConcertLab. He aims to identify the artistic and cultural significance of these collaborations and #ConcertLab so as to better understand contemporary efforts to present orchestras (and, more broadly, classical music) in a theatrically innovative manner. Adrian Curtin is a senior lecturer in the Drama Department at the University of Exeter. He is the author of Avant-Garde Theatre Sound: Staging Sonic Modernity (Palgrave, 2014) and Death in Modern Theatre: Stages of Mortality (Manchester University Press, 2019), and principal investigator of the AHRC research network 'Representing "Classical Music" in the Twenty-First Century'. [ABSTRACT FROM AUTHOR]

The article presents an examination into the 1935 production of the theatrical work "Les Cenci," by the French playwright Antonin Artaud. Discussion is given outlining Artaud's aesthetics and failed efforts to develop a school of performance known as "theater of cruelty." Details are provided discussing the underlying dramatic philosophy of Artaud, the logistics of the sound design scheme attempted by the production, and analysis of the neuroscientific elements of its reception by the audience in Paris, France.