Theatre Design & Technology - Dec 1965 - 4
2.
Theatre as Rationol Science (order out of chaos)
With a rather naive belief in sympathetic magic - in
which form creates meaning - theatre rationalists of
the Age of Reason, firm in the belief that there was
a formula for everything, tried to find a formula for
theatre.
In honesty it must be admitted that this
started in the Renaissonce with the translations of
Vitruvius. The Roman master stated flatly that geometric figures were the bases of Greek and Roman
theatre design. This was, however, only the beginning. Later theoreticians sought to reduce the entire
business of theatre architecture to a symbology based
upon
geometry
and
mathematics.
Plan
after
plan
from the Eighteenth Century revealed the architect
busily inscribing theatres within ellipses, circles,
triangles, and combinations of all of these, not
only in plan but also in section, in search of elusive
acoustical perfection and proper spatial dynamics.
(Figure 2.) A theatre designed upon the proper principles could not help but be right - if only the principles could be found.
Theatre as geometry enjoyed a vogue that has not
yet died. A recently-published project reduces all
seating and acting areas to a multiplicity of fivefoot trapezoidal modules. Octagonal modules, with
which all problems could be solved, were fashionable
only a year ago; now, seemingly, they are passe.
No one would dare to bui Id a theatre incorporating
the old rectangular module after this. Either form or
formulae, then, is expected to make theatrical experiences meaningful.
3.
Theatre as Classroom (improving each idle hour)
One
of the more charming
misconceptions
of the
reformers of the Nineteenth Century was a belief in
cultural osmosis. It was the power of such positive
thinking that labelled all washrooms "Ladies" and
"Gentlemen", on the assumption that seeing the
signs often enough would convert those who walked
Figure 1:
Theatre
by
Project
Vincenzo
Ferrarese.
Francesco Milizia, DEL TEATRO
(courtesy the Boston Public Library)
(Rome,
From
1771).
past them. The era of elevating lectures and sinless
symposia included programs for the improvement of
the minds
of the working class (currently we call
among be I ievers that drama is of no con seq uence
this "cultural enrichment"). This was carried out,
unless
of
preferably suitable for framing, and certainly
terms that Every Chi Id Can Understand.
course,
on
all
levels, but
particularly
on the
theatrical one. Vast pageants an huge stages were
designed to instruct the worker in his proper heritage.
It is from this period that we have the term "Mass
Theatre", not from a time of turbulent revolution.
Theatre and opera for the masses was specifically
designed to indoctrinate the proletariat with middleclass values (Figure 3.). This was the period of the
founding of public museums, of internationa I expositions and sentimental art. The Chicago Auditorium
Theatre of Sullivan and Adler was built to provide
opera for thousands of low-income culturally-deprived
persons. Such elaborate condescension
been seen on this scale before nor since.
had
not
4.
a readily
identifiable
lesson
is
included,
In
Theatre as Machine (hypnotic legerdemain)
One of the lessons learned from the Great War was
that machines could provide anything. Never before
had
so many identical
items been stamped out in
such wholesale fashion. The machine allowed the
vogue
for Realism to be expanded for beyond the
small core of dramas originally written in that style.
The Germans led the pack, constructing new and
reconstructing old theatres into models of efficiency
and stage flexibi lity. The vast stage houses of
found their
which most Americans stood in awe, with their production areas quadruple the size of the auditorium,
true haven in the Worker State, and then for indoctrination in proletarian values - the ultimate irony.
Variations of this theme are still quite common
were the penultimate extension of stagecraft. Multiple merry-go-rounds of revolving stages and ba Ilets
of complex elevators, fantastic tracker-wire con-
Advocates
4
of the Classroom Complex
IUSlTT
THEATRE DESIGN AND rrCHNOl~Y
Table of Contents for the Digital Edition of Theatre Design & Technology - Dec 1965
Contents
Theatre Design & Technology - Dec 1965 - 1
Theatre Design & Technology - Dec 1965 - 2
Theatre Design & Technology - Dec 1965 - 3
Theatre Design & Technology - Dec 1965 - Contents
Theatre Design & Technology - Dec 1965 - 5
Theatre Design & Technology - Dec 1965 - 6
Theatre Design & Technology - Dec 1965 - 7
Theatre Design & Technology - Dec 1965 - 8
Theatre Design & Technology - Dec 1965 - 9
Theatre Design & Technology - Dec 1965 - 10
Theatre Design & Technology - Dec 1965 - 11
Theatre Design & Technology - Dec 1965 - 12
Theatre Design & Technology - Dec 1965 - 13
Theatre Design & Technology - Dec 1965 - 14
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Theatre Design & Technology - Dec 1965 - 16
Theatre Design & Technology - Dec 1965 - 17
Theatre Design & Technology - Dec 1965 - 18
Theatre Design & Technology - Dec 1965 - 19
Theatre Design & Technology - Dec 1965 - 20
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Theatre Design & Technology - Dec 1965 - 27
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