Event-Space: Theatre Architecture and the Historical Avant-Garde is a book by New Zealand scholar and author Dorita Hannah. It was published in 2018 by Routledge. The book delves into the avant-garde movement's departure from traditional theatre spaces in favor of more unconventional venues, exploring the significance of 'event' as a central concept in modernism's revolutionary agenda. Through the lens of performance and architectural studies, Hannah establishes a theory of 'performative architecture', shedding light on historical avant-garde performance while offering insights for contemporary approaches to performance space design.^[1]

The book explores the interplay between performance and architecture from Wagner's Bayreuth Festspielhaus to Artaud's avant-garde works. Hannah introduces the concept of 'event-space' to analyze this relationship, delving into the divergent attitudes towards performance space during the late 19th and early 20th centuries. Through meticulous examination, the book connects key figures and movements, such as symbolism, constructivism, and surrealism, to their impact on theatre design. It navigates through the evolution of spatial performativity, from absolute space to abstract space and abject space, shedding light on the complexities within modernist architecture and performance art. Hannah's analysis is enriched by visual imagery and offers fresh perspectives on well-known figures and spaces. Ultimately, "Event-Space" serves as a significant contribution to understanding the intricate dynamics between architecture and performance, appealing to scholars, artists, and enthusiasts alike.^[2]

Andrew Filmer judged the book as a remarkable text and lauded Hannah's insightful exploration of spatial performativity during the historic avant-garde period. He admired the author's adept analysis of the schism between architectural rationalism and artistic avant-garde's challenges to convention, highlighting her nuanced readings of key events, scenes, and spaces. Filmer commended the book's clear conceptual grounding, its rich visual presentation, and Hannah's ability to draw fresh insights and connections through her spatial perspective.^[2]

Evelyn Lima lauded the book for its original contribution to the field of theatre architecture and performance studies, particularly its examination of the historical avant-garde's impact on performance spaces. Lima highlighted the interdisciplinary nature of the book, which draws on philosophy, art history, scenography, and more, making it appealing to a wide range of readers. She commended Hannah's meticulous research and coherent analysis, emphasizing the book's relevance for both academics and practitioners in the fields of performing arts and architecture.^[3]