Peter Brook's Empty Space and Mike Bamiloye's Multimedia Versatility: Verticals of Intersection and Divergence

Abstract

Driven by two research objectives: to map their conceptual and practical convergences and deviations and to propose the integrative "Ubiquity of Theatre" framework; this study critically explores Peter Brook's Empty Space and Mike Bamiloye's multimedia versatility in contemporary theatre practice organised around key verticals of intersection and divergence. Using a qualitative design informed by grounded theory, guided introspection, and ethnography, the study mostly draws on published digital sources including scholarly texts, performance reviews, practitioner manifestos, and visual artifacts and employs iterative-inductive coding across five verticals: philosophical underpinnings, spatial deployment, performer–audience dynamics, media integration, and cultural/faith-based context. Analysis reveals three basic dimensions of ubiquity: (1) medial and spatial ubiquity, thus confirming that any physical or virtual environment can serve as theatrical space; (2) extended audience integration, demonstrating that instantaneous engagement transcends co-location when dramaturgical integrity is maintained; and (3) layered narrative delivery, which revealed that judicious multimedia scaffolding amplifies rather than dilutes live performance. The resulting "Ubiquity of Theatre" model presents a coherent theoretical guide for artists, theatre practitioners and dramatists to create performances that are simultaneously highly accessible and intimately immediate.