Rethinking the Theatre Seat

Date

04 JUL 2025 19 SEP 2025

Week

Summer Research

Unit

Final Major Project

Brief

Design an intervention that reshapes user-to-user interaction in public spaces.

In short

Focused the scope on the theatre seat.
Found seating issues are social and spatial, not just comfort.
Next: define the “seating experience” and explore experimental and spatial–digital routes.

Finding a Direction

Since my Final Major Project centres on experience in theatre and theatrical UX, I needed to define a scope that could realistically be developed within two months. Like the Breath Knead Kit, I also considered that designing around one concrete object makes the design direction more predictable.

Where the Audience Spends the Most Time

Mapping the theatre visit journey revealed that the touchpoint where audiences spend the most time is the seat. Since many spectators remain seated for two to three hours, rethinking the seating itself could significantly improve the overall experience.

This led me to narrow the core questions:

How can seating enhance the audience experience?
What makes a good theatre seat?
Does comfort really lead to immersion?

My Experience, Observations and Survey

My own theatre experiences also came to mind. One of the most distracting moments was when I struggled to focus due to someone behind me unconsciously tapping their feet. I realised this was not intentional disruption but rather a result of fixed seat sizes and spacing that may feel restrictive to certain bodies.

Throughout the summer, I observed seating in various theatres and conducted an online survey to gather additional cases. This process showed that seating issues are not only about physical comfort but also involve social interaction and spatial constraints.

Examples of survey questions. Image Credit: Author

Sitting in the Theatre

To understand the theatre seat and the act of sitting more deeply, I carried out a literature review.

Explored questions about “theatre experiences” by category. Image Credit: Author

First, I examined the cultural context of sitting. Chairs shape people’s posture and behaviour (Rybczynski, 2016); in a theatre, the seat imposes a certain “formal posture” on the audience. Historically, chairs have prioritised form, authority and institutional aesthetics over comfort or health (Cranz, 1998). This raised questions about whether ergonomic seating actually enhances the theatre experience.

Exploring theatre architecture offered further insights. I was particularly intrigued by the paradox that both actors and audiences often prefer auditoriums without perfect sightlines (Mackintosh, 1993). This preference reflects a cultural appreciation for warmth, density and a visually cohesive atmosphere.

Through this research, I came to see the theatre not as a static structure but as a UX environment requiring careful design around attention, immersion, equitable experience, and emotional satisfaction.

Feedback & Reflection

I received several pieces of valuable feedback on my current direction.

Further research is needed. I should look more broadly at radical and experimental approaches being discussed in theatre and performance design.

The project’s position needs clarity. I must define whether I am examining the form and structure of the seat, or the meaning and role of seating itself. Instead of focusing solely on a “comfortable chair,” it may be more meaningful to explore the entire seating experience—why, where and for how long we sit.

Audience behaviour and social interaction must be considered. Issues such as tapping feet or invasion of personal space show that social UX factors are central to seating. Movement patterns from immersive or standing performances may also offer useful insights.

Spatial–digital integration is worth exploring. There is potential to address challenges of scale, sightlines or distance through digital augmentation or spatial reconfiguration.

Overall, I need to define the design focus more precisely, and approach audience experience not only through traditional seating but also by considering social behaviours, immersive formats and digital elements. This expanded perspective will strengthen the project’s UX foundation moving forward.

“Go crazy first, be rational later.”

Reference

Cranz, G. (1998). Chair: rethinking body culture and design. WW Norton & Company.
Mackintosh, I. (1993). Architecture, Actor and Audience (1st ed.). Routledge. https://doi.org/10.4324/9780203359013
Rybczynski, W. (2016). Now I sit me down: From klismos to plastic chair: A natural history. Macmillan.
Shewring, M. (2024). Theatre buildings: a design guide. Routledge.