Oh What a Lovely War: use of performance space

Use of Performance Space

“Oh What a Lovely War” utilises a broad range of spaces and settings, from the domestic intimacy of homes and munitions factories, to the grand expanse of battlefields and the shadowy depths of trenches.
The play requires a flexible and imaginative use of performance space, often involving the transformation of the stage into different locations within a span of a few minutes.

The original production, directed by Littlewood, used a simple and minimalistic set. This was in line with her preference for non-representational staging.
The stripped-down stage design prevents the audience from being distracted and keeps their focus on the characters and the action. This highlights the Brechtian influence on the play.

The use of props in “Oh What a Lovely War” is often symbolic, contributing to the play’s overall critique of the war.
Examples of this symbolic use might include red poppies representing the dead soldiers and placards announcing the number of casualties.

Consistent with the principles of Brecht’s Epic Theatre, “Oh What a Lovely War” uses the performance space in a way that is designed to encourage the audience to engage intellectually with the action.
This can involve the use of direct address, where characters break the ‘fourth wall’ to communicate key information or ideas directly to the audience, and the deliberate disruption of traditional stage conventions, such as having characters enter and exit in full view of the audience.

One of the distinctive characteristics of “Oh What a Lovely War” is its use of the performance space to engage the audience at an emotional as well as intellectual level.
This can involve the use of singing and music, both of which are typically performed in a way that directly involves the audience, whether by their participation or by the impact on their emotions.