The Hybrid Theatre

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The hybrid theater is an interdisciplinary performance and art cooperative study from the United Kingdom in Hull. The goal is to perform art and video through texts and essays in the installation Theater (Balme 12). The hybrid show defines shows that match well with two kinds of performance, such as dance, movements, poetry and hip hop. It also involves gestures like storytelling, stand-up comedy, performance art, visual arts, puppetry, and digital media.
Hybrid theatre started in the Ancient days where the Greek plays consisted mostly of dance and music (Ley 108). (Ley 108). They also began the Opera because it was seen to be as a hybrid performance. In a simple definition, hybrid theatre is a spectacle that is combined with arts, singing and orchestral music that has choreography mixed in it (Cannon 366). At some point, the hybrid stage may be hard to define, but since the upturning and defying definitions involve anything about dancing, video and any form of acting required by any artist, then the definition is complete (Foster 237).

Interesting stories about the Hybrid Theatre

The latest news from the Cahoots theatre showed how there was a hybrid performance between John and Waleed (Kusch 185). The concert was narrating about the musical and personal lives. Co-presented by the music gallery, the theatre showed the collaboration between John Millard from southern Ontario and Abdul Hamid Waleed from Sudan through music as they paired to perfume together (Coronado 55). As described in the introduction, these are two artists from different continents who decided to work together to highlight their theatrical structure. The artists are also seen to have worked together for a while both musically and acting.

The success of the hybrid theatre

The first Progress festival that is done once a year was the one of the most notable success that not only affected the fest of 2014 included the Summer Works of 2015. The 2014 Progress was an international festival performance and ideas of Summer Works Festival in partnership with the Theatre Centre (Suckling 166). It had an attendance of 86% and sold out 13 of its 18 shows. The success of the multi-curatorial model for Progress has influenced the selection process for the Summer Works in August which has adopted a similar arrangement (Mccomas 298). In 2016 the Summer Works added a dance series and incorporated members of the performance community programming festival shows.

The failures of the Hybrid Theatre

The challenges experienced by the hybrid show is because of the administrative bureaucracy, disconnection and lack of time between the teachers, administrators and the performing artists (Bauerlein 499). The majority of the challenges were directly tethered to the theatres because of the responses between both parties. The poor communication problems made the management of the theatre weak because participants work became quite precarious (Pronko 188).

Shows performed at the Hybrid Theatre

One performance that involved the Musical and Opera overlap took place in New York City. The image which was retrieved from shows the play that included a musical theatre cast followed by the intermission of the opera cast. The experiment involved an opera based act by Cheri of Colette’s novel with two musicians named Libretto and Dellaira. The center for contemporary Opera was organized by Richard Marshall, the founder of Clark studio theatre.


The hybrid theatre as described in the essay is a fascinating channel that gives way to all entertainment channels. Despite the fact that there may be the challenges of communication, it carries more benefits because of the wide allowances of different entertainment departments that include either music or acting.

Works Cited

Balme, Christopher B. “Introduction: theatre and theatre studies.” The Cambridge Introduction to Theatre Studies, vol. 23, no. 2, 1 Mar. 2010, pp. 1–14., doi:10.1017/cbo9780511817021.002.

Bauerlein, Judy. “The Success or Failure of the Hybrid theatre.” Theatre Journal, vol. 61, no. 3, 2009, pp. 467–569., doi:10.1353/tj.0.0220.

Cannon, Robert. “The development of lyric theatre alternatives to ‘opera’.” Opera, vol. 1, no. 2, 1 Feb. 2014, pp. 394–396., doi:10.1017/cbo9780511980558.025.

Coronado, Juan. “Success of Hybrid Fracs in the Basin.” Proceedings of Production and Operations Symposium, 21 Aug. 2013, pp. 12–68., doi: 10.2523/106758-ms.

Foster, Clare. “Whose Theatre Is It Anyway? Ancient Chorality versus Modern Drama.” Anthropology, Theatre, and Development, vol. 12, no. 2, 23 Sept. 2015, pp. 224–257., doi:10.1057/9781137350602_10.

Kusch, Martin. “Passage — A hybrid between interactive installation and performance.” New Realities: Being Syncretic, vol. 11, 12 July 2009, pp. 174–197. doi: 10.1007/978-3-211-78891-2_40.

Ley, Graham. “Ancient Greek Theatre and Society: Problems of Study, Reception and Understanding.” Theatre Praxis, vol. 21, no. 10, 6 Nov. 2010, pp. 108–127., doi: 10.1007/978-1-349-26996-9_6.

Mccomas, Jennifer. “Modern Art and German Reconstruction: American Curatorial Interventions in Postwar Berlin.” Journal of Curatorial Studies, vol. 5, no. 3, Jan. 2016, pp. 290–311., doi:10.1386/jcs.5.3.290_1.

Pronko, Leonard C. “Oriental Theatre for the West: Problems of Authenticity and Communication.” Educational Theatre Journal, vol. 20, no. 3, 29 July 2005, pp. 125–207., doi: 10.2307/3205184.

Suckling, Sir John. “34 [Mary Bulkeley, Summer 1639 (?)] (FA46).” The Works of Sir John Suckling: The Non-Dramatic Works, 2010, pp. 149–201., doi:10.1093/oseo/instance.00014442.

August 09, 2021

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