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Journal articles on the topic 'Theaters Theater architecture'
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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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Z., Klymko, Proskuryakov O., and Kubai R. "COMPARISON OF CREATIVITY OF THE WORLD FAMOUS ARCHITECT AND SCENOGRAPHIST F. KIESLER AND SCENOGRAPHIST AND ARCHITECT E. LYSYK." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2, no. 2 (November 2020): 91–96. http://dx.doi.org/10.23939/sa2020.02.091.
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The end of the XIX and XX centuries, among other things in architecture, design, scenography were marked by the unique work of two great artists - F. Kizler, born September 22, 1890 in Chernivtsi and E. Lysyk, born September 21, 1930 in the village. Cords near Brody. Their birth, life, creative heritage showed and proved that the era of the Great Artists of the universal type, who synthesized architects, painters, sculptors, decorators, the leader among whom was KF Schinkel, did not end there. Both Kizler and Lysyk showed that such creativity not only did not end, but thanks to their activity was reborn, developed and acquired their personal features. Starting his artistic career in theater with spiral, spatial, collapsible stages, "infinite" and "boundless" spherical theaters, F. Kizler designed and implemented a number of scenographic solutions for Karel Chapek's "Ruhr", "In the Garden in the Pasture" in M opera, New York, "No Way Out", "Soldier's Story", in which he used mechanical devices for scenographic solutions, elevators in the stage space, the idea of "plasticization", fountains. Later, F. Kizler put forward the idea of a theater-complex, which in addition to halls and stages, should be cinemas, television studios, radio stations, publishing houses, recording studios, exhibition spaces.
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Siry, Joseph M. "Chicago's Auditorium Building: Opera or Anarchism." Journal of the Society of Architectural Historians 57, no. 2 (June 1, 1998): 128–59. http://dx.doi.org/10.2307/991376.
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Adler and Sullivan's Auditorium Building in Chicago (1886-1890) is here analyzed in the context of Chicago's social history of the 1880s. Specifically, the building is seen as a capitalistic response to socialist and anarchist movements of the period. The Auditorium's principal patron, Ferdinand W. Peck, created a theater that was to give access to cultural and civic events for the city's workers, to draw them away from both politicized and nonpoliticized "low" urban entertainments. Adler and Sullivan's theater was to serve a mass audience, unlike opera houses of the period, which held multiple tiers of boxes for privileged patrons. This tradition was represented by the Metropolitan Opera House in New York City (1881-1883). Turning away from works like the Paris Opéra, Peck and his architects perhaps sought to emulate ideas of other European theaters of the period, such as Bayreuth's Festspielhaus (1872-1876). Sullivan's interior had an ornamental and iconographic program that was innovative relative to traditional opera houses. His design of the building's exterior was in a Romanesque style that recalled ancient Roman monuments. It is here compared with other Chicago buildings of its era that represented high capital's reaction to workers' culture, such as Burnham and Root's First Regiment Armory (1889-1891), Peck's own house (1887), and the Chicago Athenaeum (1890-1891). The Auditorium's story invites a view of the Chicago School that emphasizes the role of patrons' ideological agenda rather than modern structural expression.
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Panov, Valery, Margarita Gladysheva, and Andrey Razumov. "Development of the cultural and educational complex “Theatron”, integrated into the historical environment of the youth theater building in Kazan." E3S Web of Conferences 281 (2021): 02009. http://dx.doi.org/10.1051/e3sconf/202128102009.
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The article reveals the design features of a new type of multifunctional object Theatron in the context of the existing historical urban environment. The formation of a typologically new object is due to the increased attention of people to cultural and entertainment institutions offering a wide range of services. The need for proper integration of modern architecture into the existing historical development of the city is one of the most important tasks facing the architect. The authors proposed architectural and planning solutions and the creation of recreational space. Since many theater and entertainment structures are located in memorial sites of national significance, or are themselves valuable historical heritage, the reconstruction of theater buildings is a constant and inevitable phenomenon in all countries and is associated with complex controversial issues of simultaneous preservation and the existing buildings’ improvement. In this regard, there is a constant need to “fit” such old buildings to the lifestyle of the modern audience and modern production methods of theaters in the XX-XXI centuries. Due to the technology development, the technology of demonstration space, stage equipment and engineering equipment of the entire building have changed. In addition, serious urban development problems have also emerged over the years. The city scale has changed, the population has increased, and there is a rapidly growing tourist flow. Transport has changed, Parking lots for cars, communication with the metro, landing stages for unloading decorations and other cargo were needed. There are also aesthetic urban planning problems that do not allow freely, unreasonably expand the building, add the new volumes. This work can contribute to the further development and improvement of the proposed methodology for designing public cultural objects.
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Vukajlov, Ljiljana, Aleksandra Milinkovic, and Dijana Brkljac. "Recommendations for urban revitalization of theater locations: A case study - Republic of Serbia." Facta universitatis - series: Architecture and Civil Engineering 17, no. 4 (2019): 387–400. http://dx.doi.org/10.2298/fuace190708023v.
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Theater location quality is researched according to a pre-formed model with the aim to improve quality in the functioning of theaters in settlements of the Republic of Serbia. An omnipresent process of globalization has led to significant changes in the field of culture, and thus a reduction in interest for classic theater performances has occurred. The poor condition of theater buildings in architectural and structural terms as well as their immediate environment, in urbanistic sense, is the result of neglecting the field of culture on a national level for many years. By summing up the total scores for specific urban aspects obtained on the basis of the conducted research and previously collected data, it was found that the average score of the location quality of theaters is 6 of maximum 10, based on the established scoring and evaluation of the determined aspects within the research. Since the active functioning of the theaters at the local level is important for the development of the traditional culture of the population, it is justified to propose specific measures transformation of the theater immediate environment and to implement them as soon as possible for 30 existing theaters in the Republic of Serbia.
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Moisand, Jeanne. "Dal tempio monumentale alla baracca da fiera: mutamenti dello spazio urbano e luoghi teatrali a Madrid e Barcellona alla fine del secolo XIX." MEMORIA E RICERCA, no. 29 (March 2009): 29–45. http://dx.doi.org/10.3280/mer2008-029003.
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- This article compares the construction of theaters in Madrid and Barcelona from the 1830's to the 1910's by looking at the various forms and types of theaters, as well as those who funded them. As the history of books has shown, we can gain a better understanding of the social uses of cultural goods by analyzing the material forms in which they are produced and distributed. In the two Spanish main capital cities, the architectural evolutions of theater buildings, social changes in the constructors' milieux, and the movement of theater sites out of the city centers to suburban areas, show how theater descended from an elitist form of culture to a mass consumption good, available to partly illiterate populations.
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Ariani, Bunga Suchie, and Rudi Hartono. "GEDUNG PERTUNJUKAN TEATER TAMAN BUDAYA BANJARBARU." LANTING JOURNAL OF ARCHITECTURE 9, no. 2 (August 31, 2020): 86–97. http://dx.doi.org/10.20527/lanting.v9i2.685.
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The development of the Theater in South Kalimantan, especially Banjarbaru continues to grow rapidly. This is not appropriate with the lack of existing facilities and infrastructure makes theatre activities in South Kalimantan not well developed. Therefore in 2019, South Kalimantan Provincial Government together with Banjarmasin Cultural Park will plan the construction of Theatre Performance Building in a New Cultural Park Area which is located in the Governor’s Office Area of South Kalimantan. They want Theater Performance Building with an adequate lighting system and functional support space with directional access. Beside that, they want this Performance Building to become a Landmark in Banjarbaru City with the nuance of South Kalimantan Architecture. Therefore, the suitable method chosen is the Iconic Architectural Method which can be realized with 3 design principles based on a concept review, there are: (a) Traditional Elements, (b) Continuous Rhythm, and (c) Functional Elements. These three elements are realized by analyzing the point of view, circulation, material, color and texture of the interior and exterior in order to produce a good performance building design according to the client's needs.
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Петрова and A. Petrova. "Auditorium of the Bolshoi Theater Journey As a Form of Aesthetical Education of Younger Schoolchildren." Primary Education 4, no. 4 (August 17, 2016): 32–34. http://dx.doi.org/10.12737/21359.
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The article discusses the educational potential of the excursions in the auditorium of the Bolshoi Theatre for introduction to younger students the
peculiarities of architecture, interior design of the theater building, initiation to understanding the creative life of the theater group. The aim of the
tour is the aesthetic education of children, development of their imagination and the ability to co-creation, conscious perception of theatrical art.
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Chen, Xiang Rong. "Basic Principle of Acoustics and Architectural Suggestions for the Auditorium in Theater." Advanced Materials Research 971-973 (June 2014): 2061–67. http://dx.doi.org/10.4028/www.scientific.net/amr.971-973.2061.
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Many new Grand Theaters are constructed around China in recent years, and it is very important for architect to be familiar with the basic principle and knowledge of acoustics when designing the theaters. RT (Reverberation Time), ITDG (Initial Time Delay Gap), Loudness, BR, Surrounded sense and spatial sense are the major factors that affect the sound quality of the hall. All of them determine the different subjective feeling and quality of sound. According to the causes and requirements of these factors, the basic recommendations are put forward for theater auditorium hall design to ensure good sound effect.
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Vasilenko, A. "ARCHITECTURAL LIGHTING." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 230–38. http://dx.doi.org/10.31650/2519-4208-2020-20-230-238.
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Lighting plays a vital role in the way people experience and understand architecture. Whether buildings and structures are lit naturally or artificially, lighting is the medium that allows us to see and appreciate the beauty in the buildings around us. Lighting can bring an emotional value to architecture –it helps create an experience for those who occupy the space. Without lighting, where would architecture be? Would it still have the same impact? Whether it’s daylighting or artificial lighting, light draws attention to textures, colors, and forms of a space, helping architecture achieve its true purpose. Vision is the single most important sense through which we enjoy architecture, and lighting enhances the way we perceive architecture even more.To create a successful balance between lighting and architecture, it’s important to remember three key aspects of architectural lighting: aesthetic, function and efficiency. Aesthetic is where designers and architects focus on the emotional impact the balance of lighting and architecture will have on occupants. It’s where designers determine how they want people to feel when they walk around a space. This aspect is especially important for retail locations; exterior lighting should draw the consumer in, and the interior lighting should awe them as they walk through the doors in addition to showing off product. The second aspect, function, cannot be overlooked. We want the lighting to look a certain way, but we have to also make sure it serves its most important purpose -to help us see. Areas should be illuminated so occupants feel safe when navigating a room or entire building. They should be able to see the floor and walls around them, which should create a feeling of reassurance. The final aspect is very important in today’s age of green building and sustainability movements. It’s one thing to create a breathtaking lighting layout, but it’s another to create a breathtaking layout that is also incredibly energy efficient. This can be done by assuring the majority of the light is reaching its target and there is less wasted light. Reducing the amount of wasted light will make the building more efficient. An easy way this can be done is to install LEDs instead of fluorescent lighting. Because of the technology, there is less wasted light with LEDs than fluorescent due to the directional nature of LEDs.Before we get into how light and architecture impact one another, it’s important to know the main categories of buildings and what each try to accomplish with lighting. The first group (public buildings) is comprised of sports arenas, libraries, hospitals, etc. These types of buildings are more concerned with providing the right amount of light for tasks and other types of events. Sporting events like football and baseball require the right amount of light sothe players on the field can see and so the spectators can see the field. It’s also important for when spectators go to and from their seats and navigate the rest of the arena/stadium. It’s the same concept with libraries and hospitals. In libraries, occupants need to have the proper light levels to read, write and find books on shelves, while hospitals need high light levels for doctors and nurses to successfully do their jobs.The second group (official buildings) is comprised of mainly warehouses and office buildings. Their number one concern with lighting is the efficiency. With the large energy consumption of those properties, they can’t afford to spend a fortune on lighting and the electricity it consumes. And with green building trends on the rise, it’s important to have energy-efficient and sustainable lighting.The third and final group (specialized buildings) is comprised of museums, theaters, casinos, etc. These buildings rely heavily on atmosphere and the experiences they can provide. They are concerned with enhancing the appearance of architectural spaces and elements. When people go to a theater to see a play or musical, they are expecting an experience before the show even begins. They want to see a beautiful chandelier welcoming them in the lobby, lavish wall sconces lighting the hallway to their seats, and the area around the stage to be lit to accentuate statues, pillars and other architectural features.To enhance architectural elements and evoke emotions, it’s important to understand spatial borders and how to properly light them. To enhance vertical borders for example, light should be directed towards wall surfaces. If there is a wall that is a different texture, or simply one that the occupants should notice more than others, wall washingis a great tool.It will draw attention to the wall and make it appear as its own architectural element instead of a piece of an entire room. This can be used in retail locations to draw more attention to wall displays.Horizontal borders can be emphasized by illuminating the floor and ceiling. By lighting the floor, objects and pedestrian surfaces are lit. This is particularly important in dark spaces such as movie theaters and night clubs. The ambient and accent light levels are so low that not enough light reaches the floor, thus requiring the floor to be illuminated.Executed properly, this can act as task and accent lighting. If light needs to be diffused in the room, lighting the ceiling can be a successful strategy. It helps create a uniformity of light throughout the room and provides proper light levels without the use of direct light on objects.After vertical and horizontal borders have been lit, it’s important to not forget about lighting architectural elements. Lighting pillars, archways, textures, etc. can draw attention away from a room as a whole, and force the eye to focus on the illuminated architectural elements.In a room full of colors and architectural elements, it’s sometimes difficult to make certain areas stand out. Light can help with this problem by making those elements more obvious. This tactic can be used for interior and exterior lighting applications.The study identifies methodological bases of forming an integrated light facilities complex modern residential architecture. Light reveals the form of the architectural object, creates an image. Architecture becomes a source of artificial illumination using light technology. One of main priorities of the research is scientific direction in the creation of bioclimatic and ecological architecture. The problems of the effective use of the aesthetic potential of natural and artificial light have been considered. The analysis of scientific works has focused on the following issue -in the process of developing of the facade systems of housing building the necessary value of role of functional formation of form by light hasn’t been provided. Today in the architectural planning, it is necessary: the introduce in Ukraine European norms, to conform the national normative base the norms of the European standards.
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Rudenko-Kraievska, N. "Scenographic Charac-ters of Tetiana Medvid. Figural, Architectural and Textural Attributes." Culture of Ukraine, no. 71 (April 2, 2021): 111–17. http://dx.doi.org/10.31516/2410-5325.071.14.
Full textAbstract:
The article for the first time examines the scenographic projects of Tetiana Medvid, which were created during the 70–90s of the XX century, in the theaters of Ukraine, with different directors, but united by one artistic technique — the creation of scenographic characters in the form of figural, architectural and textural elements of the stage scenery, which act as separate material characters and reveal the idea of the play.
The purpose of the article is to find out the function of scenographic characters — created by figural, architectural and textural elements of stage scenery in the creative works of Tetiana Medvid within the system of effective scenography in terms of creating a visual image of the play.
The subject of research — scenographic projects of Tetiana Medvid: “Threepenny Opera” by B. Brecht (1975), “Living Corpse” by L. Tolstoy (1975), “Do not shoot at white swans” by B. Vasilyev (1977), “Interrogation” by S. Rodionov, D. Liburkin (1979), G. Ibsen’s “Hedda Gabler” (1993), “In the Labyrinth” by V. Vynnychenko’s play “Nailed” (1996), “Christian’s Dreams” by H. Ch. Andersen, “Ole Lukoje” (1995), “Tartuffe” by Moliere (1999) on the stage of the Taras Shevchenko Kharkiv Academic Ukrainian Drama Theatre; and “Caligula” by Albert Camus (1998) at the Donetsk National Academic Ukrainian Musical and Drama Theatre named after Artem.
Research methodology — use of the method of primary sources, conceptual analysis, the method of theoretical generalization.
Results. It is determined that the main expressive element of most scenographic projects of T. Medvid were scenographic characters of different typological series, in particular characters in the form of figural, architectural and textural elements of stage scenery, and the basis of Tetiana Dmytrivna’s work were the principles of visual directing: idea, thought.
Novelty. For the first time in Ukrainian art history, one of the typological series of the main means of expression of the outstanding scenographer — T. Medvid — was analyzed and systematized, namely — scenographic characters in the form of figural, architectural and textural elements of stage scenery.
The practical significance lies in the possibility of using the presented information in scientific researches of art and theater studies, as well as collected and meaningful factual and illustrative material has the opportunity to become an integral part in further study of the work of scenographers of Ukraine.
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Vasilenko, A. B., N. V. Polshchikova, O. I. Marceniuk, and А. V. Namchuk. "DEVELOPMENTANDESTABLISHMENTTHEARCHITECTURE OF THE HELLENIC THEATER FROM FOIKDANCE TO THEATER BUILDINGS, VII-II beforec.b." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 140–48. http://dx.doi.org/10.31650/2519-4208-2020-20-140-148.
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The tradition of the holidayswhich dedicatedtotheendof the grape harvest, was born in Hellada in ancient times, in the countryside and gradually moved to the cities. This process began in the VIII century BC. Holidays were dedicated to God Dionysus, he was responsible about the natural forces of the earth and vegetation, the mastery of viticulture and winemaking. The holiday started to name Dionysuy. One of the most important action –dance around a circle. Then it becamenational, it conducted in cities, where was taken the new forms. Actors or other free citizens of the city performed on the level of the round plan as a symbol (similar to the village dance in a circle) citywide holiday, the audience were also residents of the city, seats for which came down to the playground of actors in the form of a semicircular funnel. Initially, such places were arranged on artificial sub-constructions of wood. Such structures were prefabricated and were used many times. There have been cases of their collapse. Only after being in Athens to the second part of VI century BC such structures collapsed during the performance, it was decided more of this type of sub-exercise not to be used. From the end of the VI century BC, places for spectators were cut downin the natural hills. And the theaters themselves turned into stationary facilities, which contributed to many spectacular innovations and conveniences of actors -all this increased the visual efficiency of performances. From a simple place of national celebration gradually theaters turned into city-wide centers of state-political information (where the words of the actors conveyed to the audience the general provisions of state policy). For example, in the time of Pericles (444-429 BC), the poor free citizens of Athens were given theatrical money from the state treasury, which they had the right to spend solely on watching theatrical productions. Taking into account the fact that the theaters gathered several thousand spectators at the same time, the performances contributed to the dissemination of state information at a time for a large number of residents of the city. The Theatre of Deonis in Athens under the acropolis of the Acropolis accommodated 17,000 spectators from the total number of citizens in the heyday of 100,000. In addition, it was noticed that certain performances contribute to the optimistic mood of the ISSN 2519–4208. ПРОБЛЕМЫ ТЕОРИИ И ИСТОРИИ АРХИТЕКТУРЫ УКРАИНЫ.2020. No 20142audience, and this has a beneficial effect on their health. Therefore, it is no coincidence that theatrical productions (late classics of Hellas) were provided among the medical and recreational procedures in the “Asclepius” treatment and health procedures at VI C. in B.C.). The “Asclepius” architectural ensemble has a theatre as part of a medical and recreational center.Theatrical actions carried to the masses the state lines of ideology and politics, increased the general culture of the population while influencing the audience as wellness procedures. Theatrical performances were more effective than temple services. This is the need for the construction of theaters throughout Hellenism, where there was no city within Hellenistic borders, where there would be no theater. By the end of the III century BC, when the entire East Mediterranean world was subordinated to the Roman Republic, the type of theatrical construction of Hellas was completely formed. This was accepted by the Romans for their theatrical productions, gradually adapting it to the features of their mass-entertainment culture.
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Saputra, Alan Darma. "Penerapan Arsitektur Tradisional Bali pada Perancangan Teater Kesenian Kontemporer di Badung." ARSITEKTURA 18, no. 2 (November 5, 2020): 227. http://dx.doi.org/10.20961/arst.v18i2.42994.
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<p><em><span lang="EN-US">Bali is a gathering of tourist who come from all over the country. Because of this, a mixture of cultures emerged on the island ranging from lifestyles such as clothing, language, food to architecture, so that over time Balinese architecture became faded. To prevent this, it is necessary to preserve traditional Balinese architecture by applying traditional forms of architecture to new buildings, especially the theater (as buildings that become icons of Balinese culture). The theory chosen was traditional Balinese architecture, contemporary theater provisions and neo-vernacular architecture. The method used to trace the case is descriptive qualitative by taking important aspects in neo-vernacular architecture as a meeting point between traditional Balinese architecture and neo-vernacular, then these aspects are used as a benchmark in the design transformation from what was originally a small span building to a wide span with a theater function. The study results obtained are guidelines and examples of the application of Asta Kosala-kosali in contemporary theater on spatial, roof, body and foot structures of Balinese architecture and the combination of Balinese architectural tectonics in contemporary art theater. This journal has a high urgency because at present there are many functions that require wide-span buildings, so that Balinese architecture can be applied to buildings without eliminating the culture or noble values in it.</span></em></p>
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Johansen, John M. "Structures Proposed For Two Adaptive Buildings." International Journal of Space Structures 11, no. 1-2 (April 1996): 93–96. http://dx.doi.org/10.1177/026635119601-215.
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This paper is prompted by the search for better solutions to architectural problems by investigations into adaptive buildings. The building types considered are the Multi-Purpose theater and the Exhibit Hall. This proposal, the Flexstruct System, is a motorized lattice of struts, whose adjustable length and altitude will allow deformations of a basic geometry. Such adjustment of the struts would result in convexities and concavities along the surface of this lattice as deformations from an initialgeometry to any number of configurations. The space enclosed by this lattice can be adaptable to varied use requirements of theatre performance and exhibit display.
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Petcharapiruch, Sasiporn. "Synthesis between Chinese and Western Theatricalities of the Three-Tiered Stage Pleasant Sound Pavilion." MANUSYA 11, no. 3 (2008): 32–48. http://dx.doi.org/10.1163/26659077-01103003.
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The Chinese three-tiered stage Pleasant Sound Pavilion (Chàngyīn Gé 暢音閣) in the Forbidden City is the only “three-tiered stage” chόngtái sāncéng 崇臺三層 (or the “linked performance stage” lián xìtái 連戲 臺) still in existence. It was an innovation of Chinese architecture that reflected the heyday of court theater during the reign of Qianlong (1736–96). This three-tiered stage mirrored the ingenuity of the Qing court theater. How a three-tiered stage like the Pleasant Sound Pavilion was brought to life is quite interesting. It was a synthesis of highly developed traditional Chinese architectural forms and innovations of Western theater, aided by advances in science in the Qing period. However, most importantly, it stemmed from the Emperor Qianlong’s personal passion for Chinese theater. My goal is to analyze the genesis of this extant three-tiered stage and use it as a way to understand traditional Chinese architecture and its ingenuity in the reign of Qianlong, as well as to comprehend characteristics of court theater during this era.
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Fair, Alistair. "‘A new image of the living theatre’: the Genesis and Design of the Belgrade Theatre, Coventry, 1948–58." Architectural History 54 (2011): 347–82. http://dx.doi.org/10.1017/s0066622x00004093.
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When it opened in March 1958, the Belgrade Theatre, Coventry, was the first new professional theatre to be constructed in Britain for nearly two decades and the country’s first all-new civic theatre (Figs 1 and 2). Financially supported by Coventry City Council and designed in the City Architect’s office, it included a 910-seat auditorium with associated backstage facilities. Two features of the building were especially innovative, namely its extensive public foyers and the provision of a number of small flats for actors. The theatre, whose name commemorated a major gift of timber to the city of Coventry from the Yugoslav authorities, was regarded as the herald of a new age and indeed marked the beginning of a boom in British theatre construction which lasted until the late 1970s. Yet its architecture has hitherto been little considered by historians of theatre, while accounts of post-war Coventry have instead focused on other topics: the city’s politics; its replanning after severe wartime bombing; and the architecture of its new cathedral, designed by Basil Spence in 1950 and executed amidst international interest as a symbol of the city’s post-war recovery. However, the Belgrade also attracted considerable attention when it opened. The Observer’s drama critic, Kenneth Tynan, was especially effusive, asking ‘in what tranced moment did the City Council decided to spend £220,000 on a bauble as superfluous as a civic playhouse?’ For him, it was ‘one of the great decisions in the history of local government’. This article considers the architectural implications of that ‘great decision’. The main design moves are charted and related to the local context, in which the Belgrade was intended to function as a civic and community focus. In this respect, the Labour Party councillors’ wish to become involved in housing the arts reflected prevailing local and national party philosophy but was possibly amplified by knowledge of eastern European authorities’ involvement in accommodating and subsidizing theatre. In addition, close examination of the Belgrade’s external design, foyers and auditorium illuminates a number of broader debates in the architectural history of the period. The auditorium, for example, reveals something of the extent to which Modern architecture could be informed by precedent. Furthermore, the terms in which the building was received are also significant. Tynan commented: ‘enter most theatres, and you enter the gilded cupidacious past. Enter this one, and you are surrounded by the future’. Although it was perhaps inevitable that the Belgrade was thought to be unlike older theatres, given that there had been a two-decade hiatus in theatre-building, the resulting contrast was nonetheless rather appropriate, allowing the building to connote new ideas whilst also permitting us to read the Belgrade in terms of contemporary debates about the nature of the ‘modern monument’.
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Yu., Filipchuk, and Kubai R. "DESIGN RESULTS OF CULTURAL AND EDUCATIONAL, THEATRICAL AND ENTERTAINMENT BUILDINGS." Architectural Studies 6, no. 1 (September 1, 2020): 143–48. http://dx.doi.org/10.23939/as2020.01.143.
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theatrical and entertainment buildings, designed by teachers and students of the Department of architectural environmental design, Institute of Architecture, National University of Lviv Polytechnic. Nowadays, the theater architectural industry in Ukraine that specializes in youth audiences and students has no clear answer to the question of what the architecture of contemporary theater for children and young people should be and what functional colors and scenographic palette it should include. The theatrical architecture of buildings for children and youth in modern Ukraine continues to be a copy of the building since the Soviet Union. At the beginning of the 21st century nothing new appeared except analogs of the Theater of Young Spectators and the Puppet Theater of the former era. The analysis of more than 25 projects of all ranks has shown that most of them are based not only on the ideas of architects of the second half of the twentieth century but also those that made up a network of cultural and educational, theatrical and spectacular buildings in the former USSR. However, in recent years the projects of the Lviv School of Architecture, and especially after the creation of the Department of Architectural Environmental Design, have changed direction towards finding solutions for the architecture of the future. Evidence of the results of both educational, competitive design and the creation of special courses that reanimate the ideas of the architecture of futurists of the twentieth century - F. Kiesler, I. Leonidov and other architects of futurists in the applied sphere A. Quarmby, K. Tange, B. Fuller and those engaged in the search for architecture, which is at least partially called the architecture of the future - G. Holmin, Wolf D. Prix, G. Krieger. The materials of the article highlight the main principles of designing cultural and educational, theatrical, and entertainment centers in the 21st century. The author outlines the factors that continue to harm the future development of cultural and educational, theatrical, and entertainment centers in Ukraine. Highlighted experience of designing search, educational and competition projects on the example of the activity of the Department of architectural environmental design proves that it can find application in the applied architectural and construction industry of the country as a whole.
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Pöhlmann, Egert. "Vitruvius De Architectura V." Greek and Roman Musical Studies 9, no. 1 (March 29, 2021): 157–74. http://dx.doi.org/10.1163/22129758-12341380.
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Abstract In Book 5 of De architectura, the main subjects of Vitruvius are the Roman and Greek theatre and their acoustic qualities, explained with the help of several Greek theories. Vitruvius tries to enhance them by introducing a system of assisted resonance. Following the Harmonics of Aristoxenus, he recommends equipping theatre buildings with ἠχεῖα of bronze or earthenware, with the aim of increasing the strength of the voices of actors. Archaeological evidence for such equipment is nonexistent. But in Eastern and Western churches, vessels under the floor and in the walls were found. The Western examples begin in Carolingian times, when De architectura became known again. Thus, there is a debate about whether or not the work of Vitruvius had an influence on Carolingian architecture. The ἠχεῖα of Vitruvius and the resounding vessels in churches work as Helmholtz-Resonators, the sound-absorbing effects of which were used in churches with high internal resonance, while their sound-reinforcing effects were the aim of the ἠχεῖα in theatres.
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Taylor, David Francis. "Discoveries and Recoveries in the Laboratory of Georgian Theatre." New Theatre Quarterly 27, no. 3 (August 2011): 229–43. http://dx.doi.org/10.1017/s0266464x11000443.
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For a four-month period in 2010 David Francis Taylor worked as a research consultant with the Theatre Royal at Bury St Edmunds, the only working Regency playhouse in Britain. In this article Taylor reflects upon the experiences and insights he acquired over the course of this collaboration. In particular, he indicates how the theatre's restaging of the neglected repertory of the long eighteenth century within the Georgian space of performance can aid theatre historians in understanding the intricate dynamics of the period's theatre architecture and, crucially, the position and agency of its spectatorships. David Francis Taylor is Assistant Professor of English at the University of Toronto. His book Theatres of Opposition, which concerns the theatricality of politics in the career of the playwright-parliamentarian Richard Brinsley Sheridan, will be published next year by Oxford University Press. He has published articles in Eighteenth-Century Studies, European Romantic Review, and the Keats-Shelley Review, and is currently co-editing, with Julia Swindells, the Oxford Handbook to the Georgian Playhouse.
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Wang, Chen, and Heng Li. "Built Environmental Variations Between Regular and Imax Theatres." Open House International 43, no. 4 (December 1, 2018): 41–51. http://dx.doi.org/10.1108/ohi-04-2018-b0006.
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The movie substitutes such as home cinema, video on demand (VOD), and plasma televisions leaded to a declining attendance of patrons to movie theatres, which urged the invention of IMAX theatre to call movie lovers back to cinemas. Many cinemas plan to renovate their regular digital theatre auditoriums into IMAX theatre auditoriums, but there lack of study for built environmental variations between regular and IMAX theatres. Through the combination of a questionnaire survey and a case study on a leading cinema company in Malaysia, the Tanjong Golden Village Cinemas (TGV), this paper aims to identify the structural and architectural differences between regular digital theatre auditorium and IMAX theatre auditorium in the perspectives of acoustic and visual experiences. The most significant factor influencing the satisfaction of visualization in IMAX is “immersive of picture” followed by “sharpness of colour” and “feels as part of the picture”. The most significant indicators for audio experience in IMAX is “direction of object”, which enable an audience to trace the direction and position of an object on the screen without looking at it. The built environmental variations between regular and IMAX theatres in terms of screen, camera and projection methods, seating, architectural layout, wall design, and sound system arrangement were thoroughly compared in the case study.
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Sukaj, Silvana, Giuseppe Ciaburro, Gino Iannace, Ilaria Lombardi, and Amelia Trematerra. "The Acoustics of the Benevento Roman Theatre." Buildings 11, no. 5 (May 19, 2021): 212. http://dx.doi.org/10.3390/buildings11050212.
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During the Imperial Roman period, thousands of theatres were built. The theatres have three principal elements: the scene building (actor position), the orchestra and the cavea (spectator seating). The theatres were built without a roof, so they were open-air spaces. The theatres were abandoned afterward the barbarian invasions, and during the Middle Ages, homes were built inside the cavea. The theatres were rediscovered during the Renaissance period. Today, ancient theatres are the center of cultural events and are used for various kinds of shows. This work discussed the acoustics of the Roman theatre of Benevento, which was built during the Imperial Age. The theatre was destroyed after the barbaric invasion and it was rebuilt in the first half of the 1900s. The theatre was opened in 1957, and today it is the center of social and cultural activities. Acoustic measurements were carried out according to ISO 3382 standard, placing an omnidirectional sound source on the scene building and in the orchestra, with the measurement microphones along three directions in the cavea. The acoustic characteristics in various seating areas of the cavea were evaluated. Therefore, it possible to understand in which sectors of the theatre the acoustic characteristics are optimal for different types of theatrical performances.
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Haslett, Rosalind. "Architecture and New Play Development at the National Theatre, 1907–2010." New Theatre Quarterly 27, no. 4 (November 2011): 358–67. http://dx.doi.org/10.1017/s0266464x11000674.
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In recent criticism a perceived dichotomy has emerged between ‘new writing’ and ‘new work’ for the theatre. In this article Rosalind Haslett contends that this dichotomy is often reflected in the infrastructure of theatre organizations and theatre spaces themselves. Thus ‘new writing’ is seen to refer to a literary process which takes place in a conventional theatre building, while ‘new work’ tends to occur in non-traditional forms and spaces. The relationship between non-conventional spaces and the performance work that might take place in them has received some critical attention, but there has been less exploration of the ways in which theatre architecture can inform the processes which surround new writing for the theatre. Tracing the history of the National Theatre in London back to its origins, long before it occupied a building of its own, Rosalind Haslett explores the relationship between the policies and processes taking place within the organization and the physical and architectural development of actualizing its building. She suggests that, if the layout of a theatre building has the power to influence the kind of work and the modes of production which take place within it, the activities of the individuals and organizations residing within such structures can also drive architectural change. Rosalind Haslett is Lecturer in Dramatic Literature at Newcastle University. Her research interests include dramaturgy and literature management, theatre architecture, and theatre history.
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Inna, Gumennyk. "THE ROLE OF FREDERICK KIZLER'S CREATIVE ACHIEVEMENT IN THE DEVELOPMENT OF NATIONAL ARCHITECTURE OF LANDSCAPE THEATERS." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 3, no. 1 (June 15, 2021): 53–59. http://dx.doi.org/10.23939/sa2021.01.053.
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The article is devoted to the study on the influence of the work of the outstanding architect-scenographer of Ukrainian origin Frederic Kizler on the formation of authentic features in the architecture of landscape theatres in Ukraine and the establishment of characteristic features present in modern national cultural and entertainment institutions. The author explores how the creative work in scenography and design of theatrical objects by F.Kizler forms the main trends in the development of the concept of the idea of correalism as the main philosophy of architecture in the future. The role of charisma and functionality in the scenography of Frederick Kizler on the solution of the architectural environment as a symbiosis of sound, light and colour of the theatre building on the perception of the average spectator is analyzed. The publication reveals the novelty of the ideas of the architect-designer F.Kizler for all theatrical architecture and the creation of futuristic buildings that connected the past and the present as a bridge created the architecture of the future with their buildings. The author pays special attention to the influence of F.Kizler's work on the formation of modern architecture of landscape theatres and the main trends in the development of cultural and entertainment institutions of this type in the XXI century in Ukraine and the world. The presented publication solves the problems associated with the formation of the basic principles of the typology of landscape theatres using the innovative ideas of the futurist architect Frederic Kizler.
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Filmer, Andrew. "Theatre architectures." Theatre and Performance Design 5, no. 3-4 (October 2, 2019): 162–64. http://dx.doi.org/10.1080/23322551.2019.1694805.
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Chen, Xiang Rong, and Zhi Tao. "Discussion on Architectural Design of Green Theatres in China." Applied Mechanics and Materials 368-370 (August 2013): 15–20. http://dx.doi.org/10.4028/www.scientific.net/amm.368-370.15.
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The extensive construction of urban theatres in China has entered a period of prosperity, but there are many problems, such as high cost of construction, too large scale, too many facilities, too little use, and excessive energy consumption, etc. It is not only contrary to the green environmental protection and energy saving policies that are advocated in our country, but also not accord with the requirement of sustainable development. In this paper, through site investigations and analysis on the newly built theatres in China, the high energy consumption tendency and its main causes in theater construction and design are summarized. Also, some basic principles related to the design of the theatres and the problems to be concerned have been discussed, therefore the reference and guidance for the architectural design of green theatres in china are provided.
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Mazalán, Peter. "Theatre Scenography of Architecture Objects." Slovenske divadlo /The Slovak Theatre 66, no. 1 (March 1, 2018): 41–51. http://dx.doi.org/10.2478/sd-2018-0003.
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Abstract Since the beginning of the 20th century theatre has developed a completely different form of expression tools. The development of architectural methods has reached the point where it is continually moving apart from its archetype to newer and newer intellectual encryption. The method of its creation and perception have been radicalised by means of new media to offer a greater extent of its own representation. Architecture in the context of our study will be represented by the scenography. Architecture will be explored in relation to a space and its inherent characteristics by means of heterotopy and synaesthesia. Space with its specific role becomes a sphere of imagination for the audience. The study does not consider the classical term of architecture as the building and scenography as a staging of decorative mise-en-scéne.
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Ferrari, Rossella. "Architecture and/in Theatre from the Bauhaus to Hong Kong: Mathias Woo's Looking for Mies." New Theatre Quarterly 28, no. 1 (January 31, 2012): 3–19. http://dx.doi.org/10.1017/s0266464x12000012.
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In 2001 Mathias Woo, a trained architect and co-artistic director of Hong Kong's foremost performing arts group, Zuni Icosahedron, proposed the concept of ‘multimedia architectural music theatre’ (MAMT), which he later investigated through a series of performances focusing on three masters of modern architecture – Louis I. Kahn, Ludwig Mies van der Rohe, and Le Corbusier. This article traces the development of Woo's architectural theatre aesthetics by examining the most ambitious work in the series, Looking for Mies, premiered in 2002 and revived in 2009 and 2011. This links Hong Kong's twenty-first-century postmodernist theatre to early twentieth-century European modernism, particularly the Bauhaus, and international examples of architecture-centred performance. Looking for Mies unearths connections between theatre and architecture, and explores the relations between tradition and technology, man and machine, live performance and digitally mediated experience on the modern stage. Rossella Ferrari is a Lecturer in Modern Chinese Culture and Language at the School of Oriental and African Studies (SOAS), University of London. She has published articles in TDR: The Drama Review, Postcolonial Studies, Journal of Contemporary China, Modern Chinese Literature and Culture, and other journals. Her monograph Pop Goes the Avant-garde: Experimental Theatre in Contemporary China is forthcoming from Seagull Books, and her current research focuses on inter-Asian collaboration and performance networks in the Chinese-speaking world.
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Sahu, Ipsita. "From the Ruins of Chanakya: Exhibition History and Urban Memory." BioScope: South Asian Screen Studies 9, no. 1 (June 2018): 73–96. http://dx.doi.org/10.1177/0974927618767285.
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Unlike the somewhat natural decay of other single screen theatres of Delhi, the demolition of the famous Chanakya cinema (1969–2008) was an iconoclastic event. When the theatre was demolished in 2008 to pave the way for a multiplex and shopping mall, a wide and intensifying wave of dissent reigned, as the city was rudely awakened to the realities of urban transformation. At a time when film theatres had started to decline in India with the emergence of home entertainment in the 1970s and 1980s, Chanakya theatre offered a distinctive culture of cinema and urban leisure to the middle-class residents of Delhi, foreshadowing the multiplex imagination decades before its arrival. This article attempts to understand the Chanakya story and its theatrical legacy as a prehistory of globalisation. It explores the phenomenon of Chanakya’s auratic presence in the city’s imagination as it maps the theatre’s biographical journey, starting from its precarious inception in one of the more remote areas of Delhi through to its prominent place in the city’s cultural life for almost 30 years, followed by its afterlife as a potent emblem symbolising the end of a bygone era in the city’s collective memory. The micro-analysis of the Chanakya story explores the complex circuits within which architecture, film text, urban materiality and public memory converge.
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V., Proskuryakov. "DESIGNING THE ARCHITECTURE OF THE FIRST UKRAINIAN NATIONAL THEATER PAVILION FOR THE WORLD EXHIBITION." Architectural Studies 6, no. 1 (September 1, 2020): 120–27. http://dx.doi.org/10.23939/as2020.01.120.
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The paper presents the design search for the architecture of the Ukrainian pavilions for world theater forums and, in particular, the design decision for the architecture of the First Ukrainian National Theater Pavilion at the Prague Quadrennial 2019.
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González Moreno-Navarro, Antoni. "Restauración: método y arquitectura (a propósito del Teatro de Sagunto)." Informes de la Construcción 45, no. 428 (December 30, 1993): 3–8. http://dx.doi.org/10.3989/ic.1993.v45.i428.1121.
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Rufford, Juliet. "‘What Have We Got to Do with Fun?’: Littlewood, Price, and the Policy Makers." New Theatre Quarterly 27, no. 4 (November 2011): 313–28. http://dx.doi.org/10.1017/s0266464x11000649.
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Joan Littlewood blamed anti-socialist prejudice for Theatre Workshop's hostile treatment by the Arts Council. Yet her failure to secure the Council's backing for the Fun Palace – an open-ended project for an arts, entertainment, and education centre she developed with architect Cedric Price – may be better expressed as a collision between anarchy and bureaucracy. Following Nadine Holdsworth's 1997 article for New Theatre Quarterly, ‘“They'd Have Pissed on My Grave”: the Arts Council and Theatre Workshop’, in this article Juliet Rufford argues that the project fell victim to a form of programme censorship because it broke the rules of culture and professionalism as defined by the major funding body for the arts. The concept of ‘fun’ is seen as vital to understanding the cynicism of the policy makers towards Price and Littlewood's proposals, but also as driving explorations of intermediality, interactive performance, and performative architecture that have since been taken up successfully by artists working within and beyond the subsidized sector. Juliet Rufford is a post-doctoral research associate at the Victoria and Albert Museum, and is co-convenor of the International Federation of Theatre Research's Theatre Architecture Working Group. She has written on theatre architecture, site-specific performance, scenography, and the politics of space for publications including Contemporary Theatre Review and the Journal of Architectural Education.
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Noy, Kinneret. "Creating a Movement Space: the Passageway in Noh and Greek Theatres." New Theatre Quarterly 18, no. 2 (May 2002): 176–85. http://dx.doi.org/10.1017/s0266464x02000258.
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Keir Elam's observation in 1980 that ‘the theatrical text is defined and perceived above all in spatial terms’ reflected a growing attention to the significance of spatial organization and utilization in creative and perceptive processes in the theatre. In the last twenty years space has found its long-deserved status as a prominent feature of the theatrical experience and a key element in theatre studies. In this article Kinneret Noy focuses on a unique spatial component shared by two theatrical traditions – the Greek and the Japanese. By comparing and contrasting the function of the eisodos in the Greek theatre with that of the hashigakari in the Japanese Noh, she offers a fresh look at both forms. The spatial relation between the passageway and the main ‘stage’ create what Mitsuo Inoue terms a ‘movement space’. Noy borrows this term from Japanese architecture to point the connection between theatrical space and dramatic techniques. After discussing the main characteristics of a ‘movement space’ in the theatre she deals with the differences that exist between Noh and Greek theatres' spatial qualities, suggesting some connections between developments in the theatres and social and political changes. A graduate from the University of Pittsburgh (1997), Kinneret Noy studied with the Noh master Takabayshi Shinji in Kyoto, and currently teaches in the Theatre Department and East Asian Department of Haifa University and the Hebrew University in Jerusalem.
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KENNY, AMY. "‘I Hope ’Twill Make You Laugh’: Audience Laughter at the Globe Theatre." Theatre Research International 40, no. 1 (February 6, 2015): 37–49. http://dx.doi.org/10.1017/s0307883314000534.
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This article considers the role of laughter at the early modern and reconstructed Globe Theatres. Recently, debate has emerged over the nature of laughter at the Globe, as some critics and scholars believe that the actors encourage the audience to laugh excessively at the reconstructed Globe Theatre on Bankside in London. This article explores these concerns by tracing the anxieties surrounding laughter during the early modern period, and analysing their views against the modern actor's perspective at the Globe. The article argues that the architecture and shared lighting of the theatre foster more comedic moments for the audience, and considers its implications.
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Floros, Georgios. "Productively losing control, or how Architecture can inspire translation ethics." Translation Spaces 7, no. 2 (November 28, 2018): 219–39. http://dx.doi.org/10.1075/ts.18005.flo.
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Abstract In this article, an attempt is made to view Architecture as a source of inspiration for translation ethics. First, it is argued that Architecture is not a discipline that is as distant from translation studies as it might seem at first sight. Second, the example of the Wyly Theater in Dallas is discussed in an attempt to summarize contemporary concerns in architectural practice: “productively losing control,” a motto used by Prince-Ramus (2009), is then applied to translation ethics and the paper goes on to explore possible parallels between how a building may function within its surroundings and how texts may function within a social context. More specifically, it is shown that selected functional aspects of the Wyly Theater might form a guiding principle for teaching how to resolve ethical issues in the translation of politically sensitive texts taken from the Greek and Cypriot contexts.
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Viktor, Proskuryakov, Cholavyn Yu, and Lyzun Roman. "ARCHITECTURE OF NATIONAL THEATER PAVILIONS AT THE EXHIBITIONS OF THE PRAGUE QUADRIENAL, AND IN PARTICULAR, THE FIRST UKRAINIAN." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 3, no. 1 (June 15, 2021): 117–22. http://dx.doi.org/10.23939/sa2021.01.117.
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The article highlights the ideas of forming the architecture of scenographic pavilions at world exhibitions that demonstrate works of theatrical art on the example of those that presented theatrical art at one of the most famous forums in the world – the Prague Quadrennial in 1967-2019 (PQ), and in particular, the first Ukrainian ones. Quadrennial events are held every 4 years and present the development of various theatrical arts: architecture, scenography, performing arts, theatre skills, etc. But few of the interesting architectural solutions of national pavilions and installations are represented in professional, educational, popular and scientific publications. Therefore, the authors of the article decided to highlight various architectural ideas of national theatre pavilions (Belgium, the former USSR and Russia, Germany, Slovakia, Spain, Estonia), and in particular, the creation of the architecture of the first Ukrainian ones. The authors – teachers, postgraduates, students of the Department of Architectural Environment Design – relied upon and developed the architectural and scenographic ideas of the world-famous scenographer Y. Lysyk in 2015, 2019. The space of which in the first case was a stage, the horizon and wings of which were similar to the curtain from the performance of Lysyk's ballet "Romeo and Juliet", and in the second case, in 2019, space resembled the "amphitheatre" of the Ukrainian prehistoric theatre for Kupala drama. The horizon was enlarged based on the artist's sketch for the folk opera "When the Fern Blooms".
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Obracaj, Piotr. "Theatre architecture. A synthesis of arts in theatre." Czasopismo Techniczne 3 (2019): 51–62. http://dx.doi.org/10.4467/2353737xct.19.033.10207.
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Prieto López, Juan Ignacio. "Jacques Polieri: Kinetic Theatre Space." VLC arquitectura. Research Journal 2, no. 2 (October 29, 2015): 31. http://dx.doi.org/10.4995/vlc.2015.3835.
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Between the First and Second World War the definition of the new type of theater building was one of the main tasks of the European Avantgarde. In its design and theoretical formulation were poets, playwrights, theater directors, architects, painters, actors, engineers… from different countries and art movements. Despite the collaboration of the leading members of the Avant-garde like Marinetti, Moholy-Nagy, Kiesler, El Lissitzky, Gropius… none of these proposals were built because of their radical and utopian characteristics. It was a young French theater director, Jacques Polieri, who became the main compiler and prompter of those proposals in postwar Europe in two issues of the French journal Aujourd´hui, art et architecture. The first of them published in May 1958, under the title “Cinquante ans de recherches dans le spectacle” collected the most important experiences in theory, scenography, technic, and theater architecture in the interwar period. Polieri worked with different architects in several projects for theater buildings, whose main feature was the mobility of all their elements and components, trying to get a dynamic experience during the performance. Those proposals related to Kinetic Art, were published in a second issue of Aujourd´hui, art et architecture entitled “Scénographie Nouvelle” in October 1963.
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Saputra, Alan Darma, Rahadhian Prajudi Herwindo, and Yohanes Karyadi Kusliansjah. "The implementation of traditional Balinese architecture in the theater of Badung Regency." ARTEKS : Jurnal Teknik Arsitektur 5, no. 3 (December 1, 2020): 391–400. http://dx.doi.org/10.30822/arteks.v5i3.540.
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Bali Island is a famous tourist destination in the world and this has made it a gathering hub and multicultural meeting center for tourists from several countries, thereby, raising concern on the possibility of the area losing its traditional Balinese architecture. It is necessary to make adjustments by adopting the shape of the old Balinese building. This means the emergence of new functions is not a taboo but a new design challenge, therefore, the traditional Balinese architecture and theater provisions were combined to produce a neo-vernacular architecture by using descriptive qualitative method. This led to the application of Asta Kosala-kosali in the theater space, modification on the roof, body and legs shape of the Balinese building, and the integration of the construction system and materials in the Balinese theater architecture.
© 2020 Alan Darma Saputra, Rahadhian Prajudi Herwindo, Yohanes Karyadi Kusliansjah
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Milhous, Judith, and Robert D. Hume. "James Lewis's Plans for an Opera House in the Haymarket (1778)." Theatre Research International 19, no. 3 (1994): 191–202. http://dx.doi.org/10.1017/s030788330000660x.
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In 1780 James Lewis published the first of two magnificent folios, entitledOriginal Designs in Architecture. The title page explains that it consists of ‘Plans, Elevations, and Sections, for Villas, Mansions, Town-Houses, &c. and a New Design for a Theatre. With Descriptions, and Explanations of the Plates, and an Introduction’. Plates XIX-XXII are for ‘a New Theatre, designed for the Opera’. In fact, the designs are for a new opera house intended to occupy the site on which John Vanbrugh's Queen's/King's Theatre in the Haymarket had stood since 1705. The building would consume all the existing site and much of the surrounding property. Lewis explains the origins of his plans: ‘Our Theatres being upon a very small scale, compared with those of other principal cities in Europe, about two years ago [that is, in 1778] a report prevailed that a New Theatre was intended to be built by subscription, which might serve as well for all Dramatick Performances, as Concerts, Assemblies, Masquerades, &c. And the proprietors of the Opera House intending to purchase several adjoining houses and ground, to render the theatre eligible for the various purposes mentioned, suggested the idea of making a design adapted to the situation of the present Opera House, with the principal front towards Pall Mall’ (p. 12). This grand edifice would be like no other theatre in London.
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Viktor, Proskuryakov, and Proskuryakov Oleksii. "ARCHITECTURAL AND SCENOGRAPHIC IDEAS OF Y. LYSYK IN EDUCATIONAL DESIGN OF LVIV ARCHITECTURAL SCHOOL (on the example of the activity of the Department of Architectural Environment Design)." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 3, no. 1 (June 15, 2021): 109–16. http://dx.doi.org/10.23939/sa2021.01.109.
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The article highlights educational projects of various types of public buildings made by students of the Department of Architectural Environment Design, under the influence of architectural and scenographic ideas of Y. Lysyk in the late XX and early XXI centuries. Since modern artistic phenomena in the Ukrainian theatre can be most accurately studied during educational-scientific, educational-project and experimental-project educational activities. After the death of Y. Lysyk – he died in May 1991 – the Department began scientific research of his creative activity, the first results of which were simultaneously tested in educational design. At first, it was based solely on the ideas of Lysyk and had a romantic nature. At the turn of the century, works that were of an educational and applied nature began to appear. It was the result of joint creativity of teachers and students, where the Master's ideas were not only borrowed but also developed. These are buildings with theatrical, entertainment, cultural and educational functions for accumulating, storing, and displaying monumental works of scenographic art, etc. Over time, Lysyk's ideas were also developed in applied projects and buildings of teachers of the Department – landscape, puppet, studio, TV-theaters, collapsible stages of entertainment halls. Later on, the ideas of Lysyk developed in applied projects and buildings of architects in other cities of Ukraine – Kyiv, Dnipro, Odesa, Chernivtsi, Lutsk, Chervonograd.
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Barlow, Graham F. "Wenceslas Hollar and Christopher Beeston's Phoenix Theatre in Drury Lane." Theatre Research International 13, no. 1 (1988): 30–44. http://dx.doi.org/10.1017/s0307883300014218.
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In 1616 Christopher Beeston converted a cockpit in Drury Lane into a playhouse known as the Phoenix or Cockpit in Drury Lane. It was the second enclosed and private theatre in Jacobean London, Blackfriars being the first. With the exception of the Cockpit in Court, this theatre not only survived the vicissitudes of the Interregnum, continuing to operate covertly and sporadically, but also it emerged at the Restoration already adapted with some limited capacity for mounting productions decorated with changeable scenery. Yet in spite of their historical importance what is known about the architecture of this and the other private theatres, the Blackfriars and the Salisbury Court, remains essentially speculative. Because of the lack of specific internal and external graphic evidence, reconstructions of these theatres have been made from deductions drawn from close readings of play texts. With regard to the Phoenix or Cockpit in Drury Lane, Leslie Hotson laid the foundations for basic research into its reconstruction when, in The Commonwealth and Restoration Stage, he wrote up his discovery of documents in the Public Record Office that dealt obliquely with the site on which the theatre was built. However, he was reluctant to accept the contemporary evidence afforded him by Hollar in his View of West London, 1657, [Fig. 26],Unfortunately we have no graphic information as to the shape and appearance of the Cockpit Theatre, I fully expected to find a clear representation of it in Hollar's Bird's-eye View of West Central London, drawn in 1657, but I was disappointed; unless indeed we are to take a three-gabled structure, which stands where the Cockpit should be, for the theatre.