TRES THEA BUILDINGS FOR THE PERFORMING ARTS

theatre configurations based

on 19th century practice

(and symbolism: balconies as

evidence of social

stratification. Even though

the essential elements of the

theater – stage, proscenium,

auditorium – are more than

3,000 years old, there is no

excuse for this stagnation,

which is oblivious to

experiment and ignores

relevant 20th century

innovation.

In the last years, the

world has seen a

proliferation of

performance centres that

propose, according to a

mysterious consensus,

versions of a more or less

identical combination

completed by a black box.

Contemporary forms

disguise conservative

typologies:

TRES THEA BUILDINGS FOR THE PERFORMING ARTS

TRES THEA BUILDINGS FOR THE PERFORMING ARTS

Index:

-HISTORY

-ARCHITECTURE SUMMARY

-TYPES OF THEATRES

-COMPONENTS

-TECHNICAL DATA

-CASE STUDIES

TRES THEA BUILDINGS FOR THE PERFORMING ARTS

architecture

HISTORY

SUMMARY

THE ATRES

-Greek theatres

-Roman-amphitheaters

-Medieval

-Elizabethan England

-16th century-Italian reinassance

-18th century- barroque

-19th century -barroque

-grand Operas

-Wagner in Bayreuth

-Contemporary theatres

HISTORY

THE THE ATRES

The word theatre means a "place for seeing.The two most common

types of theatre plays are comedy and tragedy, symbolised by the

theatre masks. The first recorded theatrical event was a

performance of the sacred plays of the myth of Osiris and Isis in

2500 BC in Egypt. This story of the god Osiris was performed

annually at festivals throughout the civilization, marking the

beginning of a long relationship between theatre and religion.

The ancient Greeks began formalising theatre as an art, developing

strict definitions of tragedy and comedy as well as other forms,

including satyr player Like the religious plays of ancient Egypt,

Greek plays made use of mythological characters. The Greeks also

developed the concepts of dramatic criticism, acting as a career,

and theatre architecture.[In the modern world these works have

been adapted and interpreted in thousands of different ways in

order to serve the needs of the time

Examples are offered by Antigone, used in 1944 by Anouilh to make

a statement about the Nazi occupation of France, and by Brecht in

1948, likening Creon to Hitler and Thebes to defeated Germany.

Western theatre continued to develop under the Roman Empire, in

medieval England, and continued to thrive, taking on many

alternate forms in Spain, Italy, France, and Russia in the 16th,

17th and 18th centuries. The general trend over the centuries was

away from the poetic drama of the Greeks and the Renaissance and

toward a more realistic style, especially following the Industrial

Revolution. A uniquely North American theatre developed with the

colonization of the new world.

The history of Eastern theatre is traced back to 1000 BC with the

Sanskrit drama of ancient Indian theatre. Chinese theatre also

dates back to around the same time. Japanese forms of Kabuki, Noh,

and Kyogen date back to the 17th century AD.Other Eastern forms

were developed throughout China, Korea, and Southeast Asia.

The most popular forms of theatre in the medieval Islamic world

were puppet theatre (which included hand puppets, shadow plays

and marionette productions) and live passion plays known as

ta'ziya, where actors re-enact episodes from Muslim history. In

particular, Shia Islamic plays revolved around the shaheed

(martyrdom) of Ali's sons Hasan ibn Ali and Husayn ibn Ali. Live

secular plays were known as akhraja, recorded in medieval adab

literature, though they were less common than puppetry and ta'ziya

theatre.

THE

Greek

theatron ('seeing place'). The

theaters were large, open-air

structures constructed on the

slopes of hills. They consisted

of three principal elements: the

orchestra, the scene, and the

audience.

The centerpiece of the theater

was the orchestra, or "dancing

place", a large circular or

rectangular area. The orchestra

was the site the choral

performances, the religious

rites, and, possibly, the acting.

An altar was located in the

middle of the orchestra

Rising from the circle of the

orchestra was the audience.

The audience sat on tiers of

benches built up on the side

of a hill. Greek theaters

could only be built on hills

that were correctly shaped.

A typical theater was able to

seat around 15,000 viewers.

Greek theaters were not

enclosed; the audience could

see each other and the

surrounding countryside as

well as the actors and

chorus.

Skene, orchestra and

theatron

THEATRE

The Roman theatre shared

the same principles of the

Greek theathedrons, but

were developed without the

natural environment, so the

new architecture now used

facades and could be places

in any place of any city of

the empire.

The parts:scaenae, orchestra

and cavea.

roman

ROMAN CIRCUS

A building in which races -both

for chariots and horses- were

celebrated.

It can be said that games

celebrated in Circus were the

most popular and successful

for general public among all the

shows that Roman governors

offered to their people. up to

225.000 places where in

Maximum Circus at Rome.

Parts: Cavea, Arena and Spina.

ROMAN AMPHITHEATRE It got an oval plan as a result

of duplicating theatres joined

by the stage. Its name shows it

since it comes from a Greek word

that means "two theatres" (amphi

-two- and theatros).

These buildings were never used

for performing literary plays

nor political speeches. They

were rather for spectacles like

gladiators.

the arena , and the cavea .

THE

medieval Elizabethan

theaters were constructed of

wooden framing, infilled with

wattle and daub and roofed

with thatch. They consisted

of several floors of covered

galleries surrounding a

courtyard which was open to

the elements. A large portion

of the audience would stand

in the yard, directly in front

of the stage. This layout is

said to derive from the

practice of holding plays in

the yard of an inn.

During the pos roman era,

theaters acquired a

completely different shape.

Used only for religious

purposes related to the new

faith, the show was

performed in different parts

speaking about the life of

Jesus Christ.

Later this idea was corrupted

and theaters became more

profane.

THE

8-Teatro Farnese, Parma 1618

16th-century

-Italian

reinassance

theaters were constructed of

wooden framing, temporal

structures like this were

layed in courts of palaces or

other important buildings.

Designed partially by the

great Andrea Palladio, it was

the refurbishment of a

building, thus it was not

finished by Palladio, it is

considered one of the first

renaissance buildings for

performing arts.

Teatro Farnese is one of the

first fixed theaters that

where asked in the

renaissance, the stage was

now considered with uniaxial

moving backgrounds, in order

to produce the more

complicated pieces available,

and being this background

painted with the use of

perspective. The perspective

could only be seen straight

from the main seat used by

important characters,

Renaissance theaters where

also constructed in other

European cities.

ATRES THE

11-Grand Opera House Bourdeaux

Basic distribution did not

change much during this time,

using still the oval or

semicircular shape with

balconies. The most important

characteristics of these

buildings was their rich in

decoration spaces,

improvement of acoustics and

views and bigger stages, that

sometimes even had more

people working –to operate

the new machinery developed-

than the audience hosted.

18th-century-

barroque

Another important

contribution was the

entrance hall, where people

could interact, meet with

each other, the importance

was that theaters where now

seen as social contributors.

ATRES THE

Citizens of the generation

after the Napoleonic Wars,

the liberal professions

(lawyers), the first

professionals of the new

schools, the first university

of the new universities,

officials from all levels of

the new states, and renters,

all They met every week in the

theaters.

The theater was one of the

few public amusements. The

only allowing selected

crowds, under cover.

Attending the theater was a

social need and have a good

theater, civic aspiration.

the theater was expanded

from within, for convenience,

be more carefully decorated

the room for added elegance.

The theater became the

preferred forum of public

life, lived in public “.

19th-century-

barroque

SCHAUSPIELHAUS. Berlín

SCHINKEL, 1819-1821

New technologies was

introduced in stenography,

acoustics, lightning, and

specially against fires, the

time lapse for a fire to take

place was of 50 years, new

materials like concrete and

iron meant stop using wood.

Exit stairs and corridors

where created to facilitate

the exit of people.

THE

Grand opera

house

Nouvel Opera. Paris- garnier

The pride of the city. During

the nineteenth century, a

growing number of people

took interest in the image of

the city (and multiply the

collections of views of

cities). The municipalities

raise money enough to great

performances, and appeared

on urban design, is the city

as a design object.

the Opera House was the most

magnificent and interesting

theater. The presence of the

orchestra and chorus needed

more widely, and was expecting a

more spectacular-and spending-

on stage. The room seats

because they had to be expanded

to accommodate everyone in the

world, and had to get more

revenue. The relationship

spaces, hallways and the foyer

should multiply and bounds; The

decor should be particularly

splendid.

ATRES THE

Wagner en

Bayreuth

Today it is difficult to feel

the irresistible attraction

exercised Richard Wagner,

and experience the sweeping

movement that arose around

him. After upsetting ideas

about theater design, a true

offspring of the mountains,

raised in a secondary city-

and charming-, Bayreuth, a

center of pilgrimage, which

achieved a work of art and

ultimately that would

combine the whole range of

artistic expression: the

Festspielhaus, all

this was expressed as

promised and pursued with a

fury and a enthusiasm. And

it ended in a terrifying

mediocre design. And so this

story is a pretty story yet.

The theater was build for

Ludwig II, though he never

saw it, the main features of

the gesamtwerk where: These

innovations include

darkening the auditorium

during performances, and

placing the orchestra in a pit

out of view of the audience.

Wagner used the term

"gesamtkunstwerk" to refer to

a performance that combines

all the arts, including the

performing arts, literature,

and the visual arts

ATRES THE

First modern

Theatres of

the 20th

century-

search of

flexibility

Total theatre, 1927 – walter

gropius

Theatre at lehniner platz,

mendelshon, 1929

Manheim theatre, 1954-

Gerhard Weber

THE ATRES

-Proscenium

-thrust (drama)

-arena

-Black box

-Concert hall

-Musical theatres

-recital rooms

-Dance theatres

-entertainment venues

Types of theatres

THEATER TYPES

PROSCENIUM

THEATER

THE

In general practice,

a theatre space is

referred to as a

"proscenium" any time

the audience directly

faces the stage, with

no audience on any

other side, even if

there is not a formal

proscenium arch

over the stage.

ATRES

A Proscenium

theatre’s

primary feature

is a large frame

or arch which

is located at or

near the front

of the stage.

In a proscenium theatre,

the audience directly

faces the stage, which is

typically raised several

feet above front row

audience level, and views

the performance through

the proscenium "arch". The

main stage is the space

behind the proscenium

arch, often marked by a

curtain which can be

lowered or drawn closed.

A proscenium theatre

layout also simplifies the

hiding and obscuring of

objects from the

audience's view (sets,

performers not currently

performing, and theatre

technology). Anything

that is not meant to be

seen is simply placed

outside the "window"

created by the proscenium

arch, either in the wings

or in the flyspace above

the stage.

A thrust has the benefit of

greater intimacy between

performers and the

audience than a

proscenium, while retaining

the utility of a backstage

area.

An arena, exposed on all

sides to the audience, is

without a backstage and

relies entirely on

entrances in the

auditorium or from under

the stage.

As with an arena, the

audience in a thrust stage

theatre may view the stage

from three or more sides.

Because the audience can

view the performance from

a variety of perspectives, it

is usual for the blocking,

props and scenery to

receive thorough

consideration to ensure

that no perspective is

blocked from view.

THEATER TYPES

THRUST

STAGE

THE

In general practice,

a theatre space is

referred to as a

"proscenium" any time

the audience directly

faces the stage, with

no audience on any

other side, even if

there is not a formal

proscenium arch

over the stage.

ATRES

A thrust stage is

one that extends

into the audience

on three sides

and is connected

to the backstage

area by its up

stage end.

THEATER TYPES

Theater

In the

round

THE ATRES

Theatre-in-the-

round or arena

theatre is any

theatre space in

which the

audience

surrounds the

stage area.

Theatre in the Round

offers the audience a

closer intimacy with

the stage than

proscenium theatre,

and it also puts the

audience in direct view

of each other. A 360

degree sight line

means that large

scenery is out of the

question unless it is

suspended above the

actors’ heads and out

of the audiences’

view. Theatre in the

Round tends to be a

format chosen for

intimate productions,

although some large

scale operas and

theatre productions

have also used the

format.

The stage itself in this

arrangement is typically

round, diamond, or

triangular, with actors

entering and exiting through

the audience from different

directions or from below the

stage. Theatre-in-the-round

was common in ancient

theatre, particularly that of

Greece and Rome but was not

widely explored again until

the latter half of the 20th

century.

The black box

theatre is a

relatively recent

innovation,

consisting of a

simple, somewhat

unadorned

performance

space, usually a

large square

room with black

walls and a flat

floor.

THEATER TYPES

Black Box

Theater

THE ATRES

Black box theatres

became popular and

widespread

particularly in the

1960s and 1970s,

during which low-cost

experimental theatre

was being actively

practiced as never

before. Since almost

any warehouse or open

space in any building

can be transformed

into a black box. The

concept of a building

designed for flexible

staging techniques can

be attributed to Swiss

designer Adolphe

Appia, circa 1921, and

instigated a half

century of innovations

in the relationship

between audience and

performers.

Such spaces are easily built

and maintained, and are usually

home to plays or other

performances with very basic

technical arrangements, such

as limited sets, simple lighting

effects, and an intimate focus

on the story, writing, and

performances rather than

technical elements. The seating

is typically composed of loose

chairs on platforms, which can

be easily moved or removed to

allow the entire space to be

adapted to the artistic

elements of a production.

THEATER TYPES

Concert

hall

THE ATRES