Academic literature on the topic 'Theatrical space architecture'
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Journal articles on the topic "Theatrical space architecture"
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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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Yu., Bohdanova. "PRINCIPLES OF SPACE PERCEPTION IN NATURE, THEATRICAL SCENOGRAPHY AND ARCHITECTURE." Architectural Studies 6, no. 1 (September 1, 2020): 135–42. http://dx.doi.org/10.23939/as2020.01.135.
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The article focuses on determining particular characteristic patterns of organization and human perception of space, regardless of whether it is anthropogenic, natural, closed or open, or whether it exists literally, or it is depicted on a canvas of theater curtains, or either conveyed through imaginative thinking of an artist. Understanding particular universal patterns of world and space perception ensure the possibility to use them as core principles for various techniques to be implemented by humans in modeling their own space.
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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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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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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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Alisher, Anna. "Art history dynamics of theater scenography." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 170–75. http://dx.doi.org/10.32461/2226-3209.2.2021.240004.
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The purpose of the article is to study the peculiarities of the dynamics of the development of theatrical scenography by the solution of plot compositions, art forms, metaphorical images, specific features of mizantsen, national color. The methodology is based on the study of art history literature, conference materials, monographs, thematic literature, which corresponds to the disclosure of this work. The method of cultural and historical analysis helps to explore the tendencies of the development of Ukrainian scenography of the XX-XXI centuries. The comparative method, based on the consideration of the Ukrainian scenography in the context of world scenography. The scientific novelty of work is determined by a holistic analysis of the investigated processes and artistic features. The patterns of development of theatrical and decorative art are analyzed. Generalized preliminary studies in the art of scenography. Conclusions. Analyzing materials of research, a special phenomenon in scenographic art is the use of fundamental laws of science, fine arts, architecture and architectural styles, painting, sculptures, art design, bulky three-dimensional projections, colorful properties, national color. The evolution of the modern theatrical performance reflects the rains and the fall of this type of art, which specifically expresses the contradictions of man and society that are constantly updated. The world and national scenography are built on the global basis of the artistic design of stage space. The development of scenography is undoubtedly a continuous dynamic process, where the main component of the theater and its purpose is to build an artistic space of organization of action and its design, in other words, scenography. Undoubtedly important are personal indicators of the historical development of scenography art, using the experience of predecessors, adapting various architectural styles, artistic, applying harmonization and aesthetics in the stage space of theatrical action.
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Johnson, Eugene J. "Jacopo Sansovino, Giacomo Torelli, and the Theatricality of the Piazzetta in Venice." Journal of the Society of Architectural Historians 59, no. 4 (December 1, 2000): 436–53. http://dx.doi.org/10.2307/991620.
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The architectural forms of Jacopo Sansovino's Libreria di San Marco in Venice, begun in 1537, have generally been interpreted in terms of a revival of the ancient Roman forum. Another way of looking at the building, suggested here, concentrates on its theatrical nature, both in terms of the typology of architectural forms and in terms of use. Sansovino's library completed the Piazzetta in Venice as a theatrical space, and it did so at the same time that the modern theater with boxes was first developed in Venice. The great seventeenth-century scene designer Giacomo Torelli in turn used the space completed by Sansovino as a set for the opera Bellerofonte, produced in Venice in 1642. In Torelli's scene, Venice is shown as a theater of justice.
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Furquim Werneck Lima, Evelyn. "Old structures for contemporary theatrical productions: a warehouse, an arena and a thrust stage." ARJ – Art Research Journal / Revista de Pesquisa em Artes 4, no. 1 (August 13, 2017): 76–95. http://dx.doi.org/10.36025/arj.v4i1.10142.
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In this article we seek to understand the role of architecture in the theatrical process and the uses of old structures to house three contemporary productions: Zé Celso staged Os Sertões (The Hinterlands) in 2007 in a huge warehouse near the wharfs of Rio de Janeiro’s Docklands where he arranged the building as if it was his own Oficina Theatre in São Paulo; Miguel Vellinho staged Peer Gynt (2006) at the readapted SESC Copacabana Arena, and the Brazilian performance of Romeo and Juliet directed by Gabriel Villela was staged in 2000 at the reconstructed Globe Theatre not far from the real spot of the Shakespeare’s Globe. This version of the play combines circus acts, music, dance and Brazilian folk culture with the traditional story of the unlucky lovers. The perfect inner space of the playhouse and its architecture are discussed through the analysis of the many possibilities explored by Villela, who reinterpreted the spaces surprising the audience with a car on the stage.
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Popova, O. "RETROSPECTIVE ANALYSIS OF THE FORMATION OF THE ARCHITECTURE OF THE FIRST TOWN HALLS." Municipal economy of cities 4, no. 164 (October 1, 2021): 49–57. http://dx.doi.org/10.33042/2522-1809-2021-4-164-49-57.
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The article considers the history of the origin and formation of the town hall architecture as the first building of local governments. Over the past century, most town hall buildings have lost their historical significance. This process is due to the improvement of local government in Europe. In addition, the reason for this was the development of autonomy of city government and civil liberties. This process was also influenced by the democratization of the life management procedures of the urban community. From the beginning of its existence, the town hall was formed as the main public space of the city. This space was a place of judicial and public gatherings; the town hall was a centre of trade, as well as a core of theatrical and cultural events. Some town halls had a system of spaces of social interaction, such as closed halls, open and semi-open public rooms. The tendency of concentration of administrative institutions and service enterprises developed. This development took place through the integration of functional, spatial, organizational and technological structures into a single public-administrative complex. In modern town hall buildings, such components as assembly halls, session halls, exhibition halls, museum premises, offices of the City government and offices of fractions are kept until now.
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BELDEAN, Laurentiu, and Ciprian ȚUȚU. "Disinhibition of the public through-performance (III)." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 25, 2021): 7–16. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.1.
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The paper tackles the impact of the stage performance upon the public, the algorithm through which the theatrical event entered in the captivity of mass manipulation and the development of the dramatic concepts, aiming to decode the implied power relationship between scene and audience, thanks to the evolution of philosophical thinking from genuine scepticism to modern rationalism, from judgment of taste to critical judgment and social activism. Further, in the psychological key, the consequences of the dual division of the show space, the sociological markers in theatre architecture and the pattern of the Wagnerian scenic space were studied, allowing insights into the history of mentalities and into the pattern of art reception.
Dissertations / Theses on the topic "Theatrical space architecture"
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Vujicic, Lejla. "Misé en Scene of the City: An Investigation Into the Theatrical in Urban Space." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin997983119.
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Янчук, Катерина Володимирівна. "Архітектурно – театральна творчість Ф. Кізлера." Diss., Національний університет «Львівська політехніка», 2021. https://ena.lpnu.ua/handle/ntb/56792.
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Vozani, Ariadni. "The architectural correspondence of space and speech in tragedy." Thesis, Open University, 2003. http://oro.open.ac.uk/54418/.
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The main motive for undertaking this thesis was the exploration of the special relation between space and word, a relation which has recently concerned architectural theory from various aspects. However it was for us important to explore this relation inside the framework of a special system, a system which allows the production of 'real' three dimensional space; drama. Our choice to deal with classical drama was based in its attributeof producing organised space in co-existence and interdependence with articulated speech. It was for us significant that we are not dealing with an internal imaginary space but with a space which is generated and materialised during performance on stage. This thesis's claim that its analysis takes its bearings from aspects of architectural theory requires clarification since it may set up in the mind of a reader from classical studies that the object of the thesisis purely architectural or relates to the physical fabric of the theatre. This is emphatically not the case. The aspect of architectural theory which we are concerned with, concerns the evolution of the analysis of space and spatial relationships. This type of analysis, which gradually achieved an almost autonomous field by the end of the twentieth century, is one which is not so much concerned with the physical or geometrical relations of space but of the experience of space as it is synthesised in the subject. In the first of our chapters we deal with those different readings attempting a critical presentation of the existing scholarship. Obviously it is the performance and all the conventions which govern it that fully define the space of drama. It is the 'event' (of architectural theories) - as this is realised through the characters of drama that make space exist. That space cannot be equated or reduced to the space of the theatre building. It was through this perspective that in the second chapter of our thesis we were concerned to identify the role and action of the main 'subjects' (or the main participants, as we use to call them) of drama. Thus it was necessary to investigate the role of the poet, the actor and the audience, not so much in order to understand how they experience theatrical space, but in reverse, in order to explore the way they influence the production of theatrical space. In order to understand performance, we need to confront the issues of representation in antiquity through the notion of mimesis and the possible application of the term eidolon to the theatrical space. One further target is then to reveal the importance of theatrical space as an innovative genre of space- the first representational space - the analysis of which could contribute to the understanding of the different notions of space in antiquity, especially the Platonic Khora. Those issues are confronted in the third chapter of this thesis where we argue that what we call the 'space in drama' depends upon a combination of different types of representations; representations that their referents can not be identified as they belong to the domain of myth. Thus our positive reason for using the resources of Greek philosophy to render the mechanisms of dramatic representation intelligible rests upon our wish to find material which would validate the proposition that these mechanisms were thinkable. Clearly a central question in the investigation of theatrical space in terms of the arguments put forward above is the relationship between space and language. In the fourth and last of our chapters we attempt to investigate the nature of what we call dramatic speech and its ability to create three- dimensional space on stage, in any of its forms (dialogue, monologue,direct, indirect). Recent theories of architecture have been preoccupied with the exploration of the interrelation of architecture with different disciplines mainly with language itself. The relation of architecture with language becomes more complex in two main ways which concisely refer on the one hand to the influence the analysis of the structure of language has on the development of architectural discourse and on the other, to the influence architectural discourse has on architectural practice. We see then that recent architecture criticism is not limited to the reading of buildings and the marking off of historical periods, but contributes to the development of architecture practice itself. The investigation of theatrical space's relation with word would have never been complete without the study of certain examples from the trilogy Oresteia. Those examples, dealt within the last part of the fourth chapter gave us the opportunity to validate our approach and enrich our conclusions concerning the issues which this thesis intended to clarify.
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Ohanyan, Rima. "The Theatre of a Thousand Plateaus : How can architecture accommodate the postmodern conceptions of the theatre and provide spaces for non-conventional theatricals where narrative is deconstructed and the audiences are active co-creators or co-participants?" Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-174995.
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Today’s world has undergone through a variety of changes shifting from metaphysical way of thinking into postmodernism which has left its footprint in the aspects of literature, art and theatre. But architecture doesn’t reflect those changes in the theatrical world because buildings are not adjusted to the postmodern performances. In this research I made a journey through postmodern philosophy, literature, art, architecture, and theatre and tried to analyze the main tools of postmodernism, such as deconstruction of narrative, displacement etc. Then I applied them into my project which makes an attempt to translate the postmodern mind into a physical space and create a theatrical area. It tries to answer the question whether architecture is able to accommodate postmodern conceptions and performances where the audiences are the creators and active participants of their own narratives. The case study of the performance Sleep No More has become the concept for my design proposal where I also used displacement to combine several objects in a new context. The analysis and the design method have shown that architecture can accommodate all the cultural developments and can transform from postmodern conceptions into a physical space with the help of the same tools that are used in postmodern literature, art and philosophy. A building can become the embodiment of a post modernistic idea.
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"Communication in theatrical space, centre for theatre-in-education." 2010. http://library.cuhk.edu.hk/record=b5893964.
Full textBooks on the topic "Theatrical space architecture"
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(1995), Prague Quadrennial. The magic of theatrical space, Poland: PQ 95, Prague Quadrennial of Theatre Design and Architecture, 26 June-16 July 1995. Edited by Koecher-Hensel Agnieszka and Kasjaniuk Halina. [Prague: s.n., 1995.
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The magic of theatrical space, Poland: PQ 95, Prague Quadrennial of Theatre Design and Architecture, 26 June-16 July 1995. s.n, 1995.
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Stokes, John. Beyond Sculpture. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789260.003.0006.
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In the 1880s, Wilde responded with enthusiasm to reconstructions of classical Greek theatre staged in Oxford, Cambridge, and London, and his published reviews draw extensively on his own classical training together with ideas taken from Georg Wilhelm Friedrich Hegel, Walter Pater, and John Addington Symonds. He took a similar interest in contemporary plays based on classical subjects, such as Alfred Lord Tennyson’s The Cup and John Todhunter’s Helena in Troas. This chapter describes how Wilde’s experience of Greek theatre and its offshoots in live performance contributed to his fascination with the art of the actor, with theatrical space, with the deployment of scenery, and with the relation of archaeology to architecture. It concludes by tracing an underlying shift in his dramatic theory from ‘plasticity’ to ‘psychology’.
Book chapters on the topic "Theatrical space architecture"
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Bydar Shubhashchandra, Samhitha, and Sandhya Rao. "Theatrics’ of Urban Open Spaces: Exploring the Metaphorical Sense of Identity of a City’s Heritage." In Cities' Identity Through Architecture and Arts, 185–94. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-14869-0_12.
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HOWARD, DEBORAH. "The Role of Music in the Venetian Home in the Cinquecento." In The Music Room in Early Modern France and Italy. British Academy, 2012. http://dx.doi.org/10.5871/bacad/9780197265055.003.0006.
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This chapter considers the role of music and dance in the definition of identity by families and individuals in Renaissance Venice, with particular reference to the use of domestic space for music-making. The integration of music into its social and architectural context is discussed in terms of the class identity of different groups. The contexts range from domestic entertainment to family festivities such as marriages. The chapter goes on to explore the kinds of music-making in different spaces in the Venetian dwelling, in terms of the size and loudness of the instrument; the type of music performed; and the size, function and decoration of the room. During the sixteenth century, increasingly specialised rooms were created for music-making, often linked to theatrical performance and/or dance. In parallel, the employment of professional musicians by elite families began to supersede amateur participation on important festive occasions.
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MORETTI, LAURA. "Spaces for Musical Performance in the Este Court in Ferrara (c. 1440–1540)." In The Music Room in Early Modern France and Italy. British Academy, 2012. http://dx.doi.org/10.5871/bacad/9780197265055.003.0014.
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The aim of this chapter is to identify the spaces most commonly used for musical performance in the residences of the court of Ferrara in the period between 1440 and 1540. Various types of musical performance accompanied court life during state and dynastic events, public and private festivities, banquets, religious services, theatrical representations and occasional entertainments within the private circles of the princes and rulers. Proceeding from the analysis of these events, it has been possible to identify certain locations – chapels, large halls, salotti, small chambers and studioli – in various spaces in the court residences, in which musical performances are known to have taken place. From this evidence, the chapter attempts to characterise the architecture of these rooms, as well as performance practices, the types of repertoire and other relevant details needed to paint the picture of the places used for music-making in these courtly settings.
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Brückner, Martin. "Public Giants." In Social Life of Maps in America, 1750-1860. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469632605.003.0004.
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This chapter argues that the social life of “spectacular” maps contributed to the creation of the American public sphere between 1750 and 1860. Recovering the way in which materially overdetermined maps—that is, wall maps whose representational contents were enhanced or qualified by their visual design and material heft—stood out from the vast array of printed texts, it shows how wall maps became public spectacles. Marshalling inventories, public documents, and visual evidence, the chapter documents map placements inside architectural landscapes that included lecture halls, museums, and the meeting rooms of religious or reform societies. Frequently staged as theatrical props, large maps reconfigured the public sphere as a social space where public expressions of reason and passion became predicated on the spectacle of cartographic representation, with maps providing implicit or explicit support (or withholding it) during performances that ranged from political speeches and educational meetings to ballroom dances and art exhibitions.
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Dickson, Melissa. "Magic and Machines at the Great Exhibition." In Cultural Encounters with the Arabian Nights in Nineteenth-Century Britain, 141–73. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474443647.003.0005.
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Chapter 4 turns to the accumulation of goods at the Great Exhibition of 1851, which was frequently understood as another theatrical manifestation of the Arabian Nights, within the ‘fairy-tale’ Crystal Palace in the heart of Britain. A new and innovative architectural form, the palace and its contents challenged the viewer’s vision, judgement, and sense of scale to such an extent that recourse was made to the language of magic in an effort to represent its unfamiliar effects. The palace and the objects it contained had apparently materialised like the stuff of dreams. Within this transformative space, the magnificence of Britain’s industrial resources became truly apparent only by way of comparison, by the jostling together of old and new, of fictional and material, and of machinery and magic. Here, an anxious meta-narrative emerged about the nature of modern production and consumption. Casting those products originating from India, China and elsewhere within a framework of magic and the Arabian Nights was, this chapter argues, a part of the rhetoric of British modernity, which made the comparison between nations and their wares more palatable by insisting that supposedly ‘inferior’ nations had employed the agency of magic. Such a narrative generated wonder both for the beautiful, often hand-crafted productions that had supposedly been wrought by magic, and of the advancements of British civilisation, which had apparently gained, through science, all the powers of Aladdin’s lamp.
Conference papers on the topic "Theatrical space architecture"
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Falsetti, Marco, and Pina Ciotoli. "Introverted and knotted spaces within modern and contemporary urban fabrics: passages, gallerias and covered squares." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5913.
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The scenic plaza mayor shares with the theater organisms some formative characters, since they both derive from a transformation, by knotting, of pre-existing buildings and fabrics. This architectural transformation is generated, at the beginning, by a change in the modalities of using public space. As for the corral de comedias, the process is due to the sedentarization of the theatrical practice, which abandons the itinerant dimension of the street to move inside the buildings (such as private homes and palaces). The original corral de comedias was in fact set up inside an open place that could be covered, and this feature became permanent over time, creating a new building type. Similarly, since the sixteenth century, squares became the fundamental location of Spanish civic life as well as they hosted all sorts of political, religious and festive representations, but also the venue of executions. For this purpose, namely to allow people to watch such events, the squares were transformed, by raising temporary walls and walkways. In some cases, like Tembleque and San Carlos del Valle, they began to realize permanent continuous balconies, with solutions that seem to have followed the same morphological evolution of corrales de comedias. In both cases it was necessary to unify different elements (buildings or rooms) and connect them to each other, through a process of “knotting”, in order to create a new organism. Over time the physiognomy of the spaces, originally open, assumed the permanent characters of a new type, closed and similar to the courtyard of a “palazzo”.