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Relevant bibliographies by topics / Theaters Theater architecture

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Academic literature on the topic 'Theaters Theater architecture'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "Theaters Theater architecture"

1

M., Yatsiv. "LIGHT IN THE ARCHITECTURE OF MODERN THEATER BUILDINGS." Architectural Studies 6, no. 1 (September 1, 2020): 46–52. http://dx.doi.org/10.23939/as2020.01.046.

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The article discusses the role and functions of light in the space of modern theater buildings outside the auditorium and stage space. The architectural and structural factors of the formation of the lighting environment in modern theater buildings are determined; trends and features of the functioning of light in the space of modern theaters are revealed. The influence of the architectonics of buildings on the nature of the illumination of theatrical spaces is established. The experience of the formation of the lighting environment of theater buildings on the example of modern domestic and foreign theaters is analyzed.

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Isakov, Yuriy I. "VITRUVIUS ON THE VALUE OF MUSIC FOR ENHANCING THE ARCHITECTURE OF THE ANTIQUE THEATER’S AUDIENCE SPACE. Part 1." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 10. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-10.

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Vitruvius' legacy points to the importance of music in architecture for enhancing the acoustics of ancient theaters. In particular, he described in detail the sounding vessels, or ηχεια – “echea”, the effectiveness of which has not been proven. The effect of “echeas” on the acoustic parameters of a small classical Greek theater is investigated using computer modeling methods. The theater models developed take into account Vitruvius' recommendations and published research and measurements of ancient theater acoustic parameters reconstructed in our time. The descriptions of Vitruvius and the musical theories of Aristoxenus and Pythagoras were considered when developing the “echeas” models. Using the standard algorithm of the EASE4.4 program, the parameters of a small theater were calculated and the C50, C80, STI acoustic parameters of the theater’s sound field were found to benefit from the “echeas” or sounding vessels.

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Bly, Mary. "Playing the Tourist in Early Modern London: Selling the Liberties Onstage." PMLA/Publications of the Modern Language Association of America 122, no. 1 (January 2007): 61–71. http://dx.doi.org/10.1632/pmla.2007.122.1.61.

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This article attempts to reconstruct a mental cartography of early modern London, the ensemble of material, social, and symbolic codes that made up the social architecture of the city. The article extends Steven Mullaney's work by giving scholars a more accurate understanding of the geography of London and its liberties, especially those that housed private theaters, such as Shakespeare's Blackfriars. I look in particular at the liberty of the Whitefriars, arguing that between 1600 and 1615, two theaters used the liberty's reputation to draw visitors to both the theater and the neighborhood in an early modern version of cultural tourism. The theater thrived on a symbolic economy, a commodification of local color that drew people to the district, from in and outside London. I bring theories of space and tourism into play when considering the complexities of how a theater commodifies its neighborhood in this manner.

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Anisimov, Alexander V. "The environment of the cinematic spectacle. The architecture of the early Russian movie theaters." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 8–20. http://dx.doi.org/10.17816/vgik1128-20.

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The emergence of cinema brought about the issue of forming a comfortable environment for film screenings. This essay analyzes the characteristics of the first spaces used for film exhibition in St. Petersburg and Moscow and the architecture of the movie theaters built in these cities in the first decades of the 20th century and characterized by a combination of theatrical architectural traditions, eclectic restaurant design and elements of the fading Art Nouveau style. Film exhibition was a profitable business. Initially, screenings were held in rented spaces but soon specialized buildings were designed and constructed. The essay looks at the largest and most popular movie theaters built in St. Petersburgs main street, Nevsky Prospect, and in the center of Moscow, discussing their architectural features and their historical development. Thus, during the 1920s and 1930s, large movie theaters included a foyer with a stage for variety shows and a theater-like auditorium with a high-mounted, dark-framed screen; the spectators entered the auditorium via the main entrance and, after the screening, exited directly to a street or a yard.

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Xue, Charlie Qiuli, Cong Sun, and Lujia Zhang. "PRODUCING CULTURAL SPACE IN THE CHINESE CITIES: A CASE STUDY OF GRAND THEATERS IN SHANGHAIPRODUCING CULTURAL SPACE IN THE CHINESE CITIES: A CASE STUDY OF GRAND THEATERS IN SHANGHAI." JOURNAL OF ARCHITECTURE AND URBANISM 44, no. 1 (March 20, 2020): 32–43. http://dx.doi.org/10.3846/jau.2020.10800.

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Following the rapid pace of urbanisation, Chinese cities have launched a new wave of large-scale infrastructure, including cultural building construction. From 1998 to 2015, more than 360 grand theaters were built together with libraries, museums and children’s palaces. The number of newly built theaters may have been more than the total sum built in Europe over the past 70 years. Through case studies of theaters built in Shanghai, this paper penetrates the phenomenon of the “heat of cultural buildings” and discovers the history, intentions and effects of these theaters on Chinese cities. Following on-site investigation of the city and theaters, the materials of theater building in China are presented. Theaters of various types are discussed in the framework of urban space, design language and consumerist culture. The authors find that the rapid growth of cultural facilities epitomises the ambition and strong implementation of Chinese (and Asian) governments in the wave of urbanisation and globalization.

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Portnova, Tatiana V. "Architecture of Antique Theaters as an Element of the World Cultural Landscape." Observatory of Culture 17, no. 3 (August 6, 2020): 320–32. http://dx.doi.org/10.25281/2072-3156-2020-17-3-320-332.

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The article deals with the history of development of the antique theatrical architecture in the context of the environment that forms the territory acquiring the status of a cultural landscape. The material of antiquity is interpreted in the aspect of the formation evolution of theater buildings, ranging from ancient Greek to ancient Roman, which, despite being in ruins, amaze us with their large-scale and unspoiled architecture. The article attempts to systematize the valuable evidence of the past, material (theater architecture) and non-material (theater art), since the repertoire is alive as long as it is performed, and the theater architecture remains to posterity. There is considered their relationship in space and time. The study’s methods (descriptions of the phenomena under study, field observation, problem-historical analysis) made it possible to focus on the construction specifics of the theater buildings located in open spaces representing cultural landscapes — vast areas of co-creation of man and nature. Over the epochs, the theater architecture, designed for spectacular performances and connected with the environmental factor and acting art, was transforming, just as the theater itself was changing, sometimes within a single performance on a single stage. Fragments of the lost cultural experience are today open systems in associative, semantic, historical aspects, as well as in terms of objects reconstruction. They form an attractive and popular place that goes beyond the limits of urban planning conditions and has the property of an important public space. The composition of theater construction and the principles of shaping that formed in the ancient period had a great influence on their subsequent development and have been preserved in modern design solutions. In this context, the experience of interpreting the architectural monuments belonging to the theatrical art has a great cultural and educational value, not only in terms of reconstructing the lost stratum of cultural heritage, but also, to a greater extent, in modeling a new vision of the emerging architectural culture of the world.

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Slater, W. J. "Pantomime Riots." Classical Antiquity 13, no. 1 (April 1, 1994): 120–44. http://dx.doi.org/10.2307/25011007.

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It is argued that there is no simple or single reason for the riots caused by pantomimes in early imperial Rome, and especially in 14 and 15 A.D. Theatrical passion has been suggested as the main cause, but other factors must be considered: the meaning of the theater as a symbol of order, the peculiar importance of the equestrian order in the architecture of the theater; the position of the main Roman theaters in their relation to the exercise grounds of the iuvenes; the complex relationships of the equestrian iuvenes with the pantomime artists. It is pointed out that it is not always easy to define a pantomime, or to know the nature of the program; but competition was certainly involved. It is argued that the policies of Tiberius toward the theater and the iuvenes were particularly productive of discontent, which led to repeated legislation to control it. The role of Drusus is probably crucial. A central role is also played by the theater claques, and the acclamations of the equestrians, the theater being their principal venue. Various connections between the equestrian iuvenes and the theater are considered. One key is the physical training of Roman youth, which had become affected by Greek concepts of gymnasium dancing, perhaps under the influence of rhetoric. This in turn made it possible for young Romans to develop quasi-pantomime skills, which they could demonstrate in their iuvenalia. Second, it is suggested that the Baths of Agrippa and their decoration can be seen as an indication of such a change in official policy, and their position next to the theaters is stressed. Third, the personal relations between pantomimes and the nobility is documented, and the importance of the private stage in Rome. Finally, the legislation of the Tabula Larinas is considered, as it affected nobles on the stage or in the arena, and other legal implications of this conflict between the senate and the youth are sketched.

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Gaivoronskiy, I. V., and M. V. Tvardovskaya. "To the history of the creation of anatomical theaters in the Medical and Surgical (Military Medical Academy)." Bulletin of the Russian Military Medical Academy 22, no. 2 (June 15, 2020): 256–61. http://dx.doi.org/10.17816/brmma50083.

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Was established that the prototype of anatomical theaters in Russia was the anatomical theater of Leiden University (Holland), built in 1575. This theater is shown in color engraving of Cornelius Woodan, created in 1610. In St. Petersburg, at the Department of Anatomy and Physiology of the Imperial Medical and Surgical Academy, this engraving was received in 1805 as part of the collection of the anatomist V. Kruikshenk, acquired for the academy with the direct assistance of Emperor Alexander I. In Russia, the first anatomical theater appeared only in 1708. It was created at the Moscow Medical and Surgical Academy. Historians connect his appearance with a visit in 1697 by Emperor Peter the I of Leiden University. In St. Petersburg, the history of anatomical theaters dates back to the PetrovskayaKunstkamera, built in 1722. It demonstrated rarities - freaks, and also heard scientific reports. Russian anatomical theaters as an arena for the production of public spectacular autopsy did not receive their development but became an integral part of the anatomy department at higher educational institutions. Such an anatomical training theater was built at the foundation of the Imperial Medical and Surgical Academy on the right bank of the Neva in a stone two- story building. The first head of the Department of Anatomy and hysiology, P.A. Zagorsky took part in its design and equipment. Zagorsky. There was a table in the center of the amphitheater, the dimensions of which made it possible to demonstrate a whole corpse at a lecture, to conduct physiological experiments. In this amphitheater, lectures were given by Professor P.A. Zagorsky, I.V. Buyalsky, P.A. Naranovich. It lasted until 1871. The creation of a new anatomical theater in Imperial Medical and Surgical Academy is associated with the name of Professor V.L. Gruber, who after N.I. Pirogov headed the Anatomical Institute. In 1857, V.L. Gruber visited 13 anatomical institutes in Germany and in his trip report substantiated the idea of building a new anatomical building - a specialized Anatomical Institute. V.L. Gruber report was approved by the Academy Conference, headed by its head - P.A. Dubovitsky. In 1864, the building was laid, the construction of which was completed only in 1871. The construction was carried out under the guidance of an engineer - captain of the academician of architecture K.Ya. Sokolova. In this three-story building, the current Anatomical building, two classrooms were built in each wing - № 1 and № 2. They look like an amphitheater and are a prototype of the best European anatomical theaters. Currently, overhaul has been carried out in this building; the design of the anatomical theater has been preserved in classrooms 1 and 2. These auditoriums, which are a historical monument of the Imperial Medical and Surgical Academy, are equipped with modern technical training aids. It is in these classrooms that cadets and students of the S.M. Kirov Military Medical Academy are currently starting their journey into medicine.

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Anisimov, Alexander V. "The New Theatrical Buildings of Moscow in XXI Century (on the Hidden Theatres)." Scientific journal “ACADEMIA. ARCHITECTURE AND CONSTRUCTION”, no. 3 (September 27, 2018): 55–65. http://dx.doi.org/10.22337/2077-9038-2018-3-55-65.

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Over the past three decades, the number of theater groups in Moscow has increased several times compared to the Soviet era. In the past, the theaters were only state and strictly divided into all-union, republican, Moscow and departmental. And now they are born and die, but still multiply, their number is even difficult to determine - it's about two hundred. The quantitative boom is accompanied by an active search for new forms of performing art, for which halls of a new type with unprecedented stage equipment are needed. Prosperous theaters tend to have their own new houses with original architecture and modern sophisticated technology. Far from everyone succeed at this. The financial problem occurs everywhere, and there are also difficulties in finding a suitable site on the territory of the capital. Many talented teams are forced to look for original ways of financing for construction or at least finishing their interiors and acquiring stage equipment. The situation is saved by cooperation with sponsors and investors, who include theaters in their large facilities under certain conditions, which are dictated by the city's authorities for the allocation of a favorable site. The article discusses three new theatrical objects that appeared in Moscow over thelast decade. Two of them (drama theaters) are built as parts oflarge multifunctional complexes. They arelocated on thelargest highway - the Garden Ring (Malaya Sukharevskaya Square) opposite each other. The third - the Helikon Opera house in the very center of the capital - uses the historic restored rooms of the old city manor and the newly created hall on the site of the former courtyard with the preservation of the old architecture elements. All three theaters have an original architectural appearance of their interiors, modern technological equipment of different levels and variously transformable scenes and halls. The author's search for original design and constructive solutions of the main premises is of great interest. Famous Moscow architects participated in the development of the buildings.

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Poliakova, Yu Yu. "Researches of Kharkiv’s Theater Culture of the 19th and the first half of the 20th cc.: Problems of Historiography." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 142–63. http://dx.doi.org/10.34064/khnum1-51.08.

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Background. Recently, specialists in drama studies have displayed growing interest to the problems of historiography concerning theaters. One of its most urgent tasks is to reveal just how much the scientific approach is applied to creating a historical paper. This goes hand in glove with studies into sociopolitical and scientific worldview of authors of the researches, the sources used, the interpretation of facts as well as the style of material’s presentation. Objectives, methods and materials of the research. The purpose of this study is to outline the circle of the most important sources, which contain the data on the history of theater in Kharkiv; to characterize their authors; to define the degree of their mastering of accessible information while writing books and articles on various periods in the development of theater culture in this city in the 19th c.; to establish the main challenges to researchers they have to face under modern conditions. In this study, the author has chosen to apply the traditional cultural-historic method of research. It generally consists of collecting primary information on a certain phenomenon or a prominent figure, working it out, finding its correlation with appropriate historic events, and then making an attempt to substantiate the meaning and importance of the phenomenon / figure studied, in the context of the development of arts in the region. The article based on memoirs, archive materials, periodic publications (containing articles on the activities of theater companies, theatrical managers, actors etc.) and literature on the history of drama as well as general publications, which include items on the theater life in the city. Due to the lack of an entire elaborated bibliographic system, researchers have to engage themselves in painstaking browsing through the entire corpus of periodicals. In Kharkiv, the main sources of relevant information are such periodicals as the “Ukrainskiy vestnik” magazine (1816–1819) and some newspapers: “Kharkovskie gubernskie vedomosti” (1838–1915), “Yuzhnyy kray” (1880–1919), “Utro” (1906–1916), Kharkov (1877–1880), Kharkovskiy listok (1898–1905) and more. Results. The former newspaper “Kharkovskie gubernskie vedomosti” published, in 1841, the essay “Theater in Kharkov” by dramatist and a prominent public figure Hryhoriy Kvitka-Osnov’yanenko (1778–1843), who described the very first period in the history of theater in Kharkiv (1780–1816). In the 1870s, the “Kharkovskie gubernskie vedomosti” started to publish regularly analytical and summarizing articles, which were an attempt at creating theater’s history of a certain period. There was, for one, an article “The Kharkov Drama Theater in Recent Ten Years” by Ivan Ustinov, published in 1877 and dedicated to the 10th anniversary of the Diukovs’ private theater company. I. Ustinov not only gave a brief analysis of the theater’s repertoire between 1867 and 1877, but also included biographies and short characteristics of the actors, which were playing then on Kharkiv stage. Ustinov also is famous as the compiler of the bibliographic index “The Books on Kharkov Governorate” (1886), with certain information on the history of theater in this city. In the 1880s, Konstantin Schelkov, a graduate of the Kharkiv University’s Law School, wrote his articles on the theater in the “Kharkovskie gubernskie vedomosti”. The newspaper published, among others, his article “Materials for the History of Theater in Kharkiv” (1881), in which he described the activities of the theater’s management headed by N. D. Alferaki in 1845–1848. In the early 1880s, another big newspaper, the “Yuzhnyy kray”, was started. Its columnist Nikolay Chernyaev took a great interest in the history of theater in Kharkiv. Mr. Chernyaev’s works include a systematic review of theater culture in Kharkiv from Catherine II epoch until 1843 as well as a number of essays on the development of theater in Kharkiv up to 1880. The author collected wide documentary material dedicated to specific periods of history as well as to certain artistic figures. Chernyaev studied many various sources: dailies and magazines, published in the capital cities and in provinces, many collections of documents, memoirs and so on. Chernyaev’s works proved to be useful to historians D. I. Bagalei and D. P. Miller who covered the history of theater in their famous book “The History of the City of Kharkov during 250 Years of its Existence.” In the first half of the 20th c., there were no integral and systematic researches on the history of the city of the previous century, so the monograph “The Beginnings of the Theater in Kharkov” by Arkadiy Pletniov, published in 1960, one can consider as summarizing. The author based much of his study on the works of N. I. Chernyaev. He also widely used the materials resting in the A. A. Bakhrushin Museum of Theater, Moscow, and in many archives. In his monograph, Dr. Pletniov did not limit himself with listing the events of theatrical life, but thoroughly analyzed the activities of the Board of Trustees and such managers as I. Shtein and L. Mlotkovskiy. In several supplements, one can find lists of main roles played on Kharkiv stage by its prominent actors (N. Rybakov, L. Mlotkovskiy, K. Solenik). Pletniov’s work, enriched by references and commentaries, played an important part in creating the complex picture of Kharkov’s theatrical life. Due to abundance of the facts and clear style, Dr. Pletniov’s book stays up to now a valuable source on the subject. Conclusions. The analysis of historiography concerning the theater in Kharkiv of the 19th and early 20th cc. enables the author to come to conclusion that the main challenges a modern researcher has to face are as follows: the absence of system in bibliographic manuals; lacunas in the funds of periodicals of most libraries; the absence of important documents in archives. Theater life in Kharkiv has been studied far from satisfactory level yet. The following problems of history especially need thorough research work from historical point of view: theater critique; drama art; architecture of theater buildings in Kharkiv; amateur theater companies; charity for theaters; and some other points. The task of modern researchers, as we see it, lies in gradual filling the gaps mentioned above.

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Dissertations / Theses on the topic "Theaters Theater architecture"

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Hemingway, Simon Peter. "Hierophanies and heterotopias : magic, moving picture theaters and churches, 1907-1922 /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008349.

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McKee, Cameron Taylor. "The Caldwell Theater Complex /." Online version of thesis, 1995. http://hdl.handle.net/1850/12251.

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Whitmire, Derrick. "Architecture as Theater; Creating a Vital Architectural Narrative." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337950009.

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Ruoff-Siler, Lees. "Pneumatic world theater." Thesis, Massachusetts Institute of Technology, 1987. http://hdl.handle.net/1721.1/78976.

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Xagoraris, Zafirios. "The automaton theater." Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/70642.

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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1991.
Includes bibliographical references (leaves 45-47).
Hero of Alexandria was a Greek geometrician, engineer, and inventor who lived in Alexandria probably during the first century A.D. He wrote in Greek a number of theoretical treatises revealing a thorough knowledge of geometry, mechanics, optics, and pneumatics. Being more interested in the applications of his theoretical principles than in the principles themselves, Hero is known as the inventor of a number of ingenious devices based on principles of pneumatics, mechanics, and optics. The objective of this thesis is to evaluate Hero's work from an artistic viewpoint. To this end, it focuses on devices described in three of Hero's treatises, Pneumatica, Catoptrica, and Automatopoietica, in order to identify their artistic value and artistic novelty. Hero's influence on subsequent artistic-technical work, and in particular on the contemporary automaton theater, is also discussed. Finally, considerations are added in relation to a new project.
by Zafirios Xagoraris.
M.S.V.S.

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Ozdeniz, Cem. "Theater: Architecture of the Horizon." Thesis, Virginia Tech, 2013. http://hdl.handle.net/10919/23735.

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Architecture exists where the world of ideas meets the world of materials. From its general scheme all the way to the joinery of the floorboards, the proposed building should serve a guiding idea. Otherwise, architecture is not architecture but simply functional construction.

Theater exists within a similar framework, whereby the actor\'s work is a mundane manifestation of the elements extracted from the world of ideas, making it the perfect conduit to examine the reconciliation of these oppositions: the mundane and the ethereal, the quotidian and the philosophical, the earth and the heavens...

By examining the dichotomous relationship between the tectonic and the stereotomic, the project proposed within these pages provides for a spatial experience that will aid its audience in shedding the entrapments of their daily lives as they proceed towards the auditorium to watch a play. As they move through the building, they will walk through six-foot thick brick walls of heavy stereotomy towards a lighter tectonic environment. As they approach the architectonic auditorium, the horizon, which they could initially only see through small openings within the massive brick walls, becomes more prominent, reminding them of the spherical nature of our world and the existence of an entire universe outside of our frame of reference - a phenomenon which is symbolic of the world of ideas that provides us with theater and architecture.
Master of Architecture

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MILLER, SCOTT N. "A Theater for Interaction." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085115966.

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Moser, Ruby Edna. "A Theater in Berlin." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/42346.

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Architecture and Man: Berlin, with all its contradictions sets the stage for my thesis. I would like to receive you with pleasure in the reading of my drawings. To receive guests is a psychological proviso in which you invite them into the privacy of your home, a place that is not only physical, as sharing these spheres imply the cognizance of being together. The character of the host or hostess is unveiled not by way of the objects in the environment but via the representation or reflection of him or herself projected into these objects. The reception is in this way an attribute narrated by manâ s presence, emphasizing as indispensable requirement: the planning by man must include man. The planning criteria must embody architecture and man altogether, keeping in mind that neither may be limited to reducible, measurable canons and codes and notably the plan is just the initiation of a process in which the designer will be the first to leave and that will continue without their supervision or control. The reception is a classificatory division of behavior that is performed on behalf of a community where psychosocial associations generate the closeness found in the private realm. Going to the theater for example, meeting a friend for a theatrical production, and following it with drinks evoke rituals obtained from the first formed activities such as viewing a show and coming together. On behalf of the community these activities allow escapes from the everyday life of work and human relations in the form of little rites. I would like to continue with not only manâ s presence, but manâ s presence as an active agent with our built environment. Whether we are conscious of it or not our bodies and our movements are in constant dialogue with our buildings. It is a kind of choreography, if you will. Thus, I would like to give attention to architectural space and the dancer. The dancer and the space inspire one another as partners. Dancers speak of the constant need to find oneâ s center. This is the region of the solar plexus, but the location is not as important as the fact that â centerâ , the inside, must be felt before the dancer may confidently move in space, the outside. This is related to our need to sense the security inside our dwelling place in order to act with courage in the outside community. For me Berlin is like a lost child that is wandering in a marred landscape, constantly being reminded of a tumultuous past. Berlin is lacking this pivotal point or â centerâ and ultimately is lost to this gravitational pull that our physical bodies have to contend with. A Theater in Berlin was merely a working title for my thesis. It gave impetus to my thoughts in architecture. An architect sets the stage for the human figure. For me there is an excitement here which goes beyond technology to manâ s role as an active agent.
Master of Architecture

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Chan, Ping-hung Joseph. "New Chinese opera house in Temple Street." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949421.

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Slattery, Maureen L. (Maureen Louise). "Walking in the city--an operational theater." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/70285.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1997.
Includes bibliographical references (p. 79-81).
The city is to be considered a site of power. Privileged, gendered, uneven, the city exercises authority and control over its inhabitants. What masks as public, in truth, is private. Its space and structures are fixed by its economic and political operations, impenetrable to the lived practices of its inhabitants. To transgress boundaries is to reclaim urban space for its residents. Urbanism is recast as a space of social production; the city is a contested site. The city as theatre reveals a totalizing impulse. The theatrical city suggests a scopic tendency, an image of the city grasped as a whole. Theatre itself is much more elusive; its definitions multiply. As scenography, it reasserts authority; as performance it infiltrates; as spectacle; it alienates; as drama, it contests. Theatre in the city operates at this intersection; its stage is mutable, its architecture muted. This thesis is then a strategy of inhabiting the city. Normal conceptions of the public city are set aside, the definition is appraised anew. To construct a momentary encounter that interrupts the familiar, reclaims territory. Occupying the unknown, viewing from below are tactics to remap the city. The program is a constructed theatre, sited and re-sited in New York City. To be assembled in place, the project intends to appropriate given public space and redefine it as a public space for performance. The inherent transmutive qualities of the stage and performance are appropriated for the building. The question becomes: How does a theatre operate in the city?
by Maureen L. Slattery.
M.Arch.

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Books on the topic "Theaters Theater architecture"

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Breton, Gaëlle. Theaters. New York, NY: Princeton Architectural Press, 1989.

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Halfmann, Janet. Theaters. Mankato, Minn: Creative Education, 2000.

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Theaters. New York: W.W. Norton & Co., 2005.

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Morrison, Andrew Craig. Theaters. New York: W.W. Norton & Co., 2006.

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Bella, Joseph R. Duci. The four major works of Levy & Klein, Architects: As designed by Edward Eichenbaum. [Elmhurst, Ill: Theatre Historical Society of America], 1999.

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Guaita, Ovidio. I teatri storici in Italia. Milano: Electa, 1994.

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1929-, Wang Jiqing, ed. Shanxi chuan tong xi chang jian zhu. Beijing: Zhongguo jian zhu gong ye chu ban she, 2005.

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Broadway theatres: History & architecture. Mineola, N.Y: Dover Publications, 1999.

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Naylor, David. American theaters: Performance halls of the nineteenth century. New York: Wiley & Sons, 1997.

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ConstellationCenter. Sovereign spectacle: Court theaters of the eighteenth century. [Cambridge, MA]: Constellation Productions, 2011.

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Book chapters on the topic "Theaters Theater architecture"

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Paga, Jessica. "The Greek Theater." In A Companion to Greek Architecture, 360–73. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781118327586.ch25.

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Biet, Christian, and Christophe Triau. "Architecture." In What is the theatre?, 80–86. London ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429437137-6.

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Rufford, Juliet. "Theatre, architecture and illusion." In Theatre & Architecture, 47–67. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-45115-6_4.

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Rufford, Juliet. "Theatre and the tectonic." In Theatre & Architecture, 67–85. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-45115-6_5.

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Rufford, Juliet. "Architecture and mimesis." In Theatre & Architecture, 15–32. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-45115-6_2.

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Ridgway, Sam. "A theater of architectural monsters." In Ceilings and Dreams, 212–21. New York: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351065863-18.

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Read, Gray. "Civic Debate: University Theatre." In Modern Architecture in Theatre, 101–16. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137368683_6.

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Rufford, Juliet. "Introduction." In Theatre & Architecture, 1–14. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-45115-6_1.

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Rufford, Juliet. "From event-space to space acts." In Theatre & Architecture, 32–46. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-45115-6_3.

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Rufford, Juliet. "Conclusion." In Theatre & Architecture, 85–86. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-45115-6_6.

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Conference papers on the topic "Theaters Theater architecture"

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Di Gregorio, Giuseppe. "THE TAORMINA THEATER: THE DIGITAL SURVEY SYSTEM OF KNOWLEDGE OPEN IN TIME." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12168.

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Abstract:

In Sicily there are 19 show venues including ancient theaters and theatrical architectures. Many of these structures are fully functional and subject to visitor flows such as the theater of Syracuse and that of Taormina. They are object of interest and curiosity, revealed in the eighteenth century during the grand tour by travelers and landscape painters, in the last twenty years they have become reasons for study in various scientific areas as from acoustics to archeology, always passing through digital surveying. Studied through classical photogrammetry, structure from motion (SFM), 3D laser scanner, their representation as well as by increasingly refined and detailed two-dimensional graphics, makes use of 3D representations and techniques of virtual reality (VR) and augmented reality (AR). Due to their particular geometry, the need for studies and research is considered essential to deepen the methods of the surveys and plan their developments. Examples and problems for the archaeological survey are reported with the aim of critically evaluating the current state of the art of 3D survey, the potential and possible future developments, in the present study the results obtained for the survey of the Taormina theater (ME) and in-depth analysis of the versure environments.

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Yoon, Sounghoon. "Evaluation of Indoor Environment of a Lecture Theatre." In Architecture and Civil Engineering 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.89.30.

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Milicevic, Sladjana. "THE EMPTY SPACE IN THEATRE AND PSYCHOANALYSIS." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.054.

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Bognar, Botond. "Structure and Space Realization of Toyo Ito’s National Taichung Theater1." In 5th Annual International Conference on Architecture and Civil Engineering (ACE 2017). Global Science & Technology Forum (GSTF), 2017. http://dx.doi.org/10.5176/2301-394x_ace17.86.

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Leake, Larry, and Randy Mamiaro. "Naval Theater Missile Defense and Joint Tactical Event System (JTES) architecture." In Space Programs and Technologies Conference and Exhibit. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1994. http://dx.doi.org/10.2514/6.1994-4586.

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Ochoa, J. C., and H. H. Carvajal. "Heritage architecture from theColonización Antioqueña: the case of the Santamaría Theater." In STREMAH 2013. Southampton, UK: WIT Press, 2013. http://dx.doi.org/10.2495/str130371.

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Sizow, Michael, and Frank Kearns. "Condition Based Maintenance Architecture Provides Sense and Respond Readiness for Theater Assets3663." In 2006 IEEE Autotestcon. IEEE, 2006. http://dx.doi.org/10.1109/autest.2006.283621.

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Cairoli, Maria, and Lamberto Tronchin. "The architectural and acoustic quality for theatres hosting animals." In TECHNOLOGIES AND MATERIALS FOR RENEWABLE ENERGY, ENVIRONMENT AND SUSTAINABILITY: TMREES20. AIP Publishing, 2020. http://dx.doi.org/10.1063/5.0032654.

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Smolin, Artem. "INTEGRATION OF INTERNET- AND MEDIA-TECHNOLOGIES AT THE NEW STAGE OF ALEXANDRINSKY THEATRE." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.039.

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Koch, Robert, and Mario Golling. "Blackout and now? Network Centric Warfare in an anti-access area-denial theatre." In 2015 7th International Conference on Cyber Conflict: Architectures in Cyberspace (CyCon). IEEE, 2015. http://dx.doi.org/10.1109/cycon.2015.7158476.

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