Theater (structure)

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The interior of the Palais Garnier, an opera house, showing the stage and auditorium, the latter including the floor seats and the opera boxes above Palais Garnier. December 5, 2010.jpg
The interior of the Palais Garnier, an opera house, showing the stage and auditorium, the latter including the floor seats and the opera boxes above

A theater, theatre or playhouse, is a structure where theatrical works or plays are performed, or other performances such as musical concerts may be produced. A theatre used for opera performances is called an opera house. While a theater is not required for performance (as in environmental theater or street theater), a theater serves to define the performance and audience spaces. The facility is traditionally organized to provide support areas for performers, the technical crew and the audience members.

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There are as many types of theaters as there are types of performance. Theaters may be built specifically for a certain types of productions, they may serve for more general performance needs or they may be adapted or converted for use as a theater. They may range from open-air amphitheaters to ornate, cathedral-like structures to simple, undecorated rooms or black box theaters. Some theaters may have a fixed acting area (in most theaters this is known as the stage), while some theaters, such as black box theaters, may not, allowing the director and designers to construct an acting area suitable for the production.

Basic elements

On and off stage

Backstage area of the Vienna State Opera Vienna - Vienna Opera Backstage - 9706.jpg
Backstage area of the Vienna State Opera

The most important of these areas is the acting space generally known as the stage. In some theaters, specifically proscenium theaters, arena theaters and amphitheaters, this area is permanent part of the structure. In a blackbox theater the acting area is undefined so that each theater may adapt specifically to a production.

In addition to these acting spaces, there may be offstage spaces as well. These include wings on either side of a proscenium stage (called "backstage" or "offstage") where props, sets and scenery may be stored as well as a place for actors awaiting an entrance. A prompter's box may be found backstage. In an amphitheater, an area behind the stage may be designated for such uses while a blackbox theater may have spaces outside of the actual theater designated for such uses.

Often a theater will incorporate other spaces intended for the performers and other personnel. A booth facing the stage may be incorporated into the house where lighting and sound personnel may view the show and run their respective instruments. Other rooms in the building may be used for dressing rooms, rehearsal rooms, spaces for constructing sets, props and costumes, as well as storage.

There are usually two main entrances. One is at the front, used by the audience, and leads into the back of the audience space, sometimes first going through a ticket booth. The second is called the stage door, and it is accessible from backstage. This is where the cast and crew enter and exit the theater, and fans sometimes wait outside it after the show in order to get autographs, called "stage dooring". This term can also be used to refer to going to a lot of shows or living in a big theater city, such as New York or Chicago.

Seating and audience

All theaters provide a space for an audience. The audience is usually separated from the performers by the proscenium arch. In proscenium theaters and amphitheaters, the proscenium arch, like the stage, is a permanent feature of the structure. This area is known as the auditorium or the house. Like the stage in a blackbox theater, this area is also defined by the production

The seating areas can include some or all of the following:

Close-up of the seats in the Opera and Ballet Theatre in Minsk Interior of Opera and Ballet Theatre Minsk 08.JPG
Close-up of the seats in the Opera and Ballet Theatre in Minsk

Open-air theaters

The ancient theater at Delphi, Greece Delphi amphitheater from above dsc06297.jpg
The ancient theater at Delphi, Greece

Ancient Greece

Greek theater buildings were called a theatron ('seeing place'). The theaters were large, open-air structures constructed on the slopes of hills. They consisted of three principal elements: the orchestra, the skene, and the audience.

The centerpiece of the theater was the orchestra, or "dancing place", a large circular or rectangular area. The orchestra was the site of the choral performances, the religious rites, and, possibly, the acting. An altar was located in the middle of the orchestra; in Athens, the altar was dedicated to Dionysus.

Behind the orchestra was a large rectangular building called the skene (meaning "tent" or "hut"). It was used as a "backstage" area where actors could change their costumes and masks, but also served to represent the location of the plays, which were usually set in front of a palace or house. Typically, there were two or three doors in the skene that led out onto orchestra, and from which actors could enter and exit. At first, the skene was literally a tent or hut, put up for the religious festival and taken down when it was finished. Later, the skene became a permanent stone structure. These structures were sometimes painted to serve as backdrops, hence the English word scenery . A temple nearby, especially on the right side of the scene, is almost always part of the Greek theater complex, which could justify, as a transposition, the recurrence of the pediment with the later solidified stone scene. [1]

In front of the skene there may have been a raised acting area called the proskenion, the ancestor of the modern proscenium stage. It is possible that the actors (as opposed to the chorus) acted entirely on the proskenion, but this is not certain.

Rising from the circle of the orchestra was the audience. The audience sat on tiers of benches built up on the side of a hill. Greek theaters, then, could only be built on hills that were correctly shaped. A typical theater was enormous, able to seat around 15,000 viewers.

Greek theaters were not enclosed; the audience could see each other and the surrounding countryside as well as the actors and chorus.

Britannica Theatre 2.jpg The Theatre at Athens
From Dorpfeld and Reisch, Das griechische Theater (Athens, 1896), as presented in the article on "Theatre" from the 1911 edition of Encyclopædia Britannica.
ab,double western wall.
bc,single wall.
aa, gg,walls terminating wings of auditorium.
b, f,entrances.
c,the "katatome" (where the rock of the Acropolis was met by the walls).
d, e,diazoma.
fg,eastern boundary wall.
hh,front wall of Neronian stage.
i,fragment 5th-century orchestra.
klm,ancient masonry (? of supporting walls).
nn,oldest stage buildings.
oo,stone proscenium (1st or 2nd century B.C.).
p,foundations of Neronian side wings.
qr,fragments 5th-century orchestra.
s,4th-century portico.
t,old Dionysus temple.

Ancient Rome

Roman Theater, Orange, France Theater Orange.jpg
Roman Theater, Orange, France

The Romans copied the Greek style of building, but tended not to be so concerned about the location, being prepared to build walls and terraces instead of looking for a naturally occurring site.

The auditorium (literally "place for hearing" in Latin) was the area in which people gathered, and was sometimes constructed on a small hill or slope in which stacked seating could be easily made in the tradition of the Greek Theatres. The central part of the auditorium was hollowed out of a hill or slope, while the outer radian seats required structural support and solid retaining walls. This was of course not always the case as Romans tended to build their theatres regardless of the availability of hillsides. All theatres built within the city of Rome were completely man-made without the use of earthworks. The auditorium was not roofed; rather, awnings (vela) could be pulled overhead to provide shelter from rain or sunlight. [2]

Some Roman theatres, constructed of wood, were torn down after the festival for which they were erected concluded. This practice was due to a moratorium on permanent theatre structures that lasted until 55 BC when the Theatre of Pompey was built with the addition of a temple to avoid the law. Some Roman theatres show signs of never having been completed in the first place. [3]

Inside Rome, few theatres have survived the centuries following their construction, providing little evidence about the specific theatres. Arausio, the theatre in modern-day Orange, France, is a good example of a classic Roman theatre, with an indented scaenae frons, reminiscent of Western Roman theatre designs, however missing the more ornamental structure. The Arausio is still standing today and, with its amazing structural acoustics and having had its seating reconstructed, can be seen to be a marvel of Roman architecture. [2]

Elizabethan England

1596 illustration of Swan Theatre, Southwark, London, showing round structure The Swan cropped.png
1596 illustration of Swan Theatre, Southwark, London, showing round structure

During the Elizabethan era in England, theaters were constructed of wooden framing, infilled with wattle and daub and roofed with thatch. Mostly the theaters were entirely open air. They consisted of several floors of covered galleries surrounding a courtyard which was open to the elements. A large portion of the audience would stand in the yard, directly in front of the stage. This layout is said to derive from the practice of holding plays in the yard of an inn. Archaeological excavations of The Rose theater at London's Bankside, built 1587, have shown that it had en external diameter of 72 feet (22 metres). The nearby Globe Theatre (1599) was larger, at 100 feet (30 metres). Other evidence for the round shape is a line in Shakespeare's Henry V which calls the building "this wooden O", and several rough woodcut illustrations of the city of London.

Recreation of Shakespeare's Globe Theatre in London Shakespeare Globe Theater 1 db.jpg
Recreation of Shakespeare's Globe Theatre in London

Around this time, the green room, a place for actors to wait until required on stage, became common terminology in English theaters.

The Globe has now been rebuilt as a fully working and producing theater near its original site (largely thanks to the efforts of film director Sam Wanamaker) to give modern audiences an idea of the environment for which Shakespeare and other playwrights of the period were writing.

Indoor theaters

Renaissance Europe

During the Renaissance, the first modern enclosed theaters were constructed in Italy. Their structure was similar to that of ancient theaters, with a cavea and an architectural scenery, representing a city street. The oldest surviving examples of this style are the Teatro Olimpico in Vicenza (1580) and the Teatro all'antica in Sabbioneta (1590).

At the beginning of 17th century theaters had moved indoors and began to resemble the arrangement we see most frequently today, with a stage separated from the audience by a proscenium arch. This coincided with a growing interest in scenic elements painted in perspective, such as those created by Inigo Jones, Nicola Sabbatini and the Galli da Bibiena family. The perspective of these elements could only be viewed properly from the center back of the auditorium, in the so-called "duke's chair." The higher one's status, the closer they would be seated to this vantage point, and the more the accurately they would be able to see the perspective elements.

The first enclosed theaters were court theaters, open only to the sovereigns and the nobility. The first opera house open to the public was the Teatro San Cassiano (1637) in Venice. The Italian opera houses were the model for the subsequent theaters throughout Europe.

German operatic influence

Richard Wagner placed great importance on "mood setting" elements, such as a darkened theater, sound effects, and seating arrangements (lowering the orchestra pit) which focused the attention of audience on the stage, completely immersing them in the imaginary world of the music drama. These concepts were revolutionary at the time, but they have since come to be taken for granted in the modern operatic environment as well as many other types of theatrical endeavors.

Contemporary theaters

Contemporary theaters are often non-traditional, such as very adaptable spaces, or theaters where audience and performers are not separated. A major example of this is the modular theater, notably the Walt Disney Modular Theater. This large theater has floors and walls divided into small movable sections, with the floor sections on adjustable hydraulic pylons, so that the space may be adjusted into any configuration for each individual play. As new styles of theater performance have evolved, so has the desire to improve or recreate performance venues. This applies equally to artistic and presentation techniques, such as stage lighting.

Specific designs of contemporary live theaters include proscenium, thrust, black box theater, theater in the round, amphitheater, and arena. In the classical Indian dance, Natya Shastra defines three stage types. In Australia and New Zealand a small and simple theater, particularly one contained within a larger venue, is called a theatrette. [4] The word originated in 1920s London, for a small-scale music venue. [5]

Theatrical performances can also take place in venues adapted from other purposes, such as train carriages. In recent years the Edinburgh Fringe has seen performances in an Hover Car and a taxi.

Asian theater design

Noh

1: hashigakari. 2: kyogen spot. 3: stage attendants. 4: stick drum. 5: hip drum. 6: shoulder drum. 7: flute. 8: chorus. 9: waki seat. 10: waki spot. 11: shite spot. 12: shite-bashira. 13: metsuke-bashira. 14: waki-bashira. 15: fue-bashira. Noh-stage-diagram.png
1: hashigakari. 2: kyōgen spot. 3: stage attendants. 4: stick drum. 5: hip drum. 6: shoulder drum. 7: flute. 8: chorus. 9: waki seat. 10: waki spot. 11: shite spot. 12: shite-bashira. 13: metsuke-bashira. 14: waki-bashira. 15: fue-bashira.

The traditional stage used in Noh theater is based on a Chinese pattern. It is completely open, providing a shared experience between the performers and the audience throughout the play. Without any prosceniums or curtains to obstruct the view, the audience sees each actor at moments even before entering the primary platform of the stage. The theater itself is considered symbolic and treated with reverence both by the performers and the audience. [6]

The stage includes a large square platform, devoid of walls or curtains on three sides, and traditionally with a painting of a pine tree at the back. The platform is elevated above the place where the audience sits, which is covered in white gravel soil. The four stage corners are marked by cedar pillars, and the whole is topped by a roof, even when the Noh stage is erected indoors. A ceramic jar system under the stage amplifies the sounds of dancing during the performance. There is a small door to permit entry of the musicians and vocalists.

The independent roof is one of the most recognizable characteristic of the Noh stage. Supported by four columns, the roof symbolizes the sanctity of the stage, with its architectural design derived from the worship pavilion ( haiden ) or sacred dance pavilion ( kaguraden ) of Shinto shrines. The roof also unifies the theater space and defines the stage as an architectural entity. [6]

The pillars supporting the roof are named shitebashira (principal character's pillar), metsukebashira (gazing pillar), wakibashira (secondary character's pillar), and fuebashira (flute pillar), clockwise from upstage right respectively. Each pillar is associated with the performers and their actions. [7]

The stage is made entirely of unfinished hinoki , a Japanese cypress, with almost no decorative elements. The poet and novelist Toson Shimazaki writes that "on the stage of the Noh theater there are no sets that change with each piece. Neither is there a curtain. There is only a simple panel ( kagami-ita ) with a painting of a green pine tree. This creates the impression that anything that could provide any shading has been banished. To break such monotony and make something happen is no easy thing." [6]

Another unique feature of the stage is the hashigakari , a narrow bridge at upstage right used by actors to enter the stage. Hashigakari means "suspension bridge", signifying something aerial that connects two separate worlds on a same level. The bridge symbolizes the mythic nature of Noh plays in which otherworldly ghosts and spirits frequently appear. In contrast, hanamichi in Kabuki theaters is literally a path (michi) that connects two spaces in a single world, thus has a completely different significance. [6]

A contemporary Noh theatre with indoor roofed structure Noh-stage.jpg
A contemporary Noh theatre with indoor roofed structure

Kabuki

Shibai Ukie ("A Scene from a Play") by Masanobu Okumura (1686-1764), depicting Edo Ichimura-za theater in the early 1740s Shibai Ukie by Masanobu Okumura.jpg
Shibai Ukie ("A Scene from a Play") by Masanobu Okumura (1686–1764), depicting Edo Ichimura-za theater in the early 1740s

The Japanese kabuki stage features a projection called a hanamichi (花道; literally, flower path), a walkway which extends into the audience and via which dramatic entrances and exits are made. Okuni also performed on a hanamichi stage with her entourage. The stage is used not only as a walkway or path to get to and from the main stage, but important scenes are also played on the stage. Kabuki stages and theaters have steadily become more technologically sophisticated, and innovations including revolving stages and trap doors were introduced during the 18th century. A driving force has been the desire to manifest one frequent theme of kabuki theater, that of the sudden, dramatic revelation or transformation. [8] A number of stage tricks, including actors' rapid appearance and disappearance, employ these innovations. The term keren (外連), often translated playing to the gallery, is sometimes used as a catch-all for these tricks. Hanamichi and several innovations including revolving stage, seri and chunori have all contributed to kabuki play. Hanamichi creates depth and both seri and chunori provide a vertical dimension.

Koothambalam

Koothambalam Theatre Exterior Koothambalam at Koodal Maanikka Temple.JPG
Koothambalam Theatre Exterior

The Indian Koothambalam temple is a space used to perform Sanskrit drama. Called the koothambalam or kuttampalam, it is a large high-caste rectangular, temple in Kerala which represented a “visual sacrifice” to any deities or gods of the temple. They were built for kutiyattam or “combined acting” performances, which only two dramas are performed today. [9]

The temple has a pyramidal roof, with high walls, and a high-ceilinged interior. Within the large temple has a stage inside which is a large platform with its own pyramid roof. The stage area is separate from the audience area with the musician (a drummer on a high seat) behind the stage, and dressing rooms also at the rear with exit doors behind. The audience would be seated on a smooth, polished floor. Several Koothambalams exist within several Indian temples,[ clarification needed ][ does this mean several in each? ] and follow the same rectangular plan and structure.

See also

Related Research Articles

Kabuki Classical Japanese dance-drama

Kabuki (歌舞伎) is a classical form of Japanese dance-drama. Kabuki theatre is known for its heavily-stylised performances, the often-glamorous costumes worn by performers, and for the elaborate kumadori make-up worn by some of its performers.

Proscenium Theatre feature

A proscenium is the metaphorical vertical plane of space in a theatre, usually surrounded on the top and sides by a physical proscenium arch and on the bottom by the stage floor itself, which serves as the frame into which the audience observes from a more or less unified angle the events taking place upon the stage during a theatrical performance. The concept of the fourth wall of the theatre stage space that faces the audience is essentially the same.

Bayreuth Festspielhaus Opera house and cultural heritage monument in Bavaria, Germany

The Bayreuth Festspielhaus or Bayreuth Festival Theatre is an opera house north of Bayreuth, Germany, built by the 19th-century German composer Richard Wagner and dedicated solely to the performance of his stage works. It is the venue for the annual Bayreuth Festival, for which it was specifically conceived and built. Its official name is Richard-Wagner-Festspielhaus.

Noh Classical Japanese dance-drama theatre

Noh is a major form of classical Japanese dance-drama that has been performed since the 14th century. Developed by Kan'ami and his son Zeami, it is the oldest major theatre art that is still regularly performed today. Although the terms Noh and nōgaku are sometimes used interchangeably, nōgaku encompasses both Noh and kyōgen. Traditionally, a full nōgaku program included several Noh plays with comedic kyōgen plays in between; an abbreviated program of two Noh plays with one kyōgen piece has become common today. Optionally, the ritual performance Okina may be presented in the very beginning of nōgaku presentation.

Roman theatre (structure)

Roman theatres derive from and are part of the overall evolution of earlier Greek theatres. Indeed, much of the architectural influence on the Romans came from the Greeks, and theatre structural design was no different from other buildings. However, Roman theatres have specific differences, such as generally being built upon their own foundations instead of earthen works or a hillside and being completely enclosed on all sides.

Auditorium A room built to enable an audience to hear and watch performances

An auditorium is a room built to enable an audience to hear and watch performances. For movie theatres, the number of auditoria is expressed as the number of screens. Auditoria can be found in entertainment venues, community halls, and theaters, and may be used for rehearsal, presentation, performing arts productions, or as a learning space.

Theatre of Dionysus Ancient Greek theatre near the Athens Acropolis

The Theatre of Dionysus is an ancient Greek theatre in Athens. It is built on the south slope of the Acropolis hill, originally part of the sanctuary of Dionysus Eleuthereus. The first orchestra terrace was constructed on the site around the mid- to late-sixth century BC, where it hosted the City Dionysia. The theatre reached its fullest extent in the fourth century BC under the epistates of Lycurgus when it would have had a capacity of up to 17,000, and was in continuous use down to the Roman period. The theatre then fell into decay in the Byzantine era and was not identified, excavated and restored to its current condition until the nineteenth century.

Stage (theatre) Designated space for the performance of productions

In theatre and performing arts, the stage is a designated space for the performance of productions. The stage serves as a space for actors or performers and a focal point for the audience. As an architectural feature, the stage may consist of a platform or series of platforms. In some cases, these may be temporary or adjustable but in theaters and other buildings devoted to such productions, the stage is often a permanent feature.

Fox Theatre (Detroit) Theater and former movie theater in Detroit, Michigan, US

The Fox Theatre is a performing arts center located at 2211 Woodward Avenue in Downtown Detroit, Michigan, near the Grand Circus Park Historic District. Opened in 1928 as a flagship movie palace in the Fox Theatres chain, it was at over 5,000 seats the largest theater in the city. Designed by theater architect C. Howard Crane, it was listed on the National Register of Historic Places in 1985 and was designated a National Historic Landmark in 1989 for its architecture. The area surrounding the Fox is nicknamed Foxtown. The city's major performance centers and theatres emanate from the Fox Theatre and Grand Circus Park Historic District and continue along Woodward Avenue toward the Fisher Theatre in the city's New Center.

Music venue Any location used for a concert or musical performance

A music venue is any location used for a concert or musical performance. Music venues range in size and location, from a small coffeehouse for folk music shows, an outdoor bandshell or bandstand or a concert hall to an indoor sports stadium. Typically, different types of venues host different genres of music. Opera houses, bandshells, and concert halls host classical music performances, whereas public houses ("pubs"), nightclubs, and discothèques offer music in contemporary genres, such as rock, dance, country, and pop.

Skene (theatre)

In the theatre of ancient Greece, the skene was the structure at the back of a stage. The word skene means 'tent' or 'hut', and it is thought that the original structure for these purposes was a tent or light building of wood and was a temporary structure. It was initially a very light structure or just cloth hanging from a rope, but over the course of time the skene underwent fundamental changes. First, it became a permanent building, whose roof could sometimes be used to make speeches, and as time passed it was raised up from the level of the orchestra, creating a proskenion, or "space in front of the skene". The facade of the proskenion was behind the orchestra and provided a space for supporting stage scenery.

The Ellie Caulkins Opera House is located in Denver, Colorado as part of the large Denver Performing Arts Complex. It seats 2,225. The Caulkins family pledged $7 million towards the enhancement of the lyric opera house and adjacent public spaces which were constructed inside of the Newton Auditorium.

Grimsby Auditorium Theatre in North East Lincolnshire, England

Grimsby Auditorium is a theatre situated on Cromwell Road, in Grimsby, North East Lincolnshire. With a seated audience capacity of 1,200 the Grimsby Auditorium is the largest professional theatre in Lincolnshire, and one of the larger theatres in the East of England. Built in 1995, it is today managed by Lincs Inspire on behalf of its owners North East Lincolnshire Council.

Pikes Peak Center for the Performing Arts Concert hall

The Pikes Peak Center for the Performing Arts is a concert auditorium in Colorado Springs, Colorado. It serves as an entertainment, cultural, educational, and assembly center for the citizens of El Paso County, the Pikes Peak region, and the surrounding area.

The Benedicta Arts Center (BAC) is a performing arts center located on the campus of the College of Saint Benedict. Built in 1964 by the Sisters of the Order of Saint Benedict in the city of St. Joseph, MN, the Benedicta Arts Center has remained a powerhouse for the arts in Central Minnesota.

Atmospheric theatre Type of movie theater

An atmospheric theatre is a type of movie palace design which was popular in the late 1920s. Atmospheric theatres were designed and decorated to evoke the feeling of a particular time and place for patrons, through the use of projectors, architectural elements and ornamentation that evoked a sense of being outdoors. This was intended to make the patron a more active participant in the setting.

Konpira Grand Theatre

The Konpira Grand Theatre, also known as the Kanamaru-za (金丸座) is a restored Kabuki theatre in Kotohira, Kagawa, on the island of Shikoku, Japan. It was originally constructed in 1835, and is the oldest kabuki theatre in Japan. Kabuki plays are performed for one month each year, usually in April.

There are different types of theatres, but they all have three major parts in common. Theatres are divided into two main sections, the house and the stage, there is also a backstage area in many theatres. The house is the seating area for guests watching a performance and the stage is where the actual performance is given. The backstage area is usually restricted to people who are producing or in the performance.

Hakata-za

The Hakata-za Theatre is a kabuki theatre in Fukuoka, Fukuoka Prefecture, Japan. It was originally constructed in 1996. It is near Nakasu-Kawabata Station.

A list of theater terms, and brief descriptions, listed in alphabetical order.

References

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  2. 1 2 Richard Allan Tomlinson. "Theatres (Greek and Roman), structure", The Oxford Companion to Classical Civilization. Ed. Simon Hornblower and Antony Spawforth. Oxford University Press, 1998. Oxford Reference Online. Oxford University Press. Northwestern University. 11 May 2007.
  3. Constance Campbell. "The Uncompleted Theatres of Rome", The Johns Hopkins University Press. Theatre Journal 55.1 (2003) 67–79 10 May 2007.
  4. Moore, Bruce 1999. The Australian Oxford Dictionary ISBN   0-19-551796-2
  5. "theatrette". Oxford English Dictionary (2 ed.). 1989.
  6. 1 2 3 4 Komparu, Kunio (1983). The Noh Theater: Principles and Perspectives. New York / Tokyo: John Weatherhill, Inc. ISBN   0-8348-1529-X.
  7. Brockett, Oscar G.; Hildy, Franklin J. (2007). History of the Theatre (Foundation ed.). Boston, MA: Allyn and Bacon. ISBN   978-0-205-47360-1.
  8. Scott, A. C. (1955). The Kabuki Theatre of Japan . London: George Allen & Unwin Ltd.
  9. Sorgenfrei, Carol Fisher, et al. Theatre Histories: An Introduction. 2nd ed., Routledge, 2007.