Journal articles: 'Theatre Architecture'

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Mohammadi, Banafsheh. "Of Architecture and Hope." Journal of the Society of Architectural Historians 81, no. 3 (September 1, 2022): 357–71. http://dx.doi.org/10.1525/jsah.2022.81.3.357.

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Abstract Of Architecture and Hope: The Citadel Theatre of Edmonton and the Cruel Optimism of a Bygone Petroleum Age explores how one of the largest theaters built in North America in the twentieth century represents a form of petroleum-driven “cruel optimism,” a concept introduced by Lauren Berlant. Drawing upon a wide range of primary sources from the City of Edmonton Archives, the Provincial Archives of Alberta, the University of Alberta Archives, and the private archives of the family of theater cofounder Joe Shoctor, Banafsheh Mohammadi provides a detailed analysis of the design and materials of the Citadel Theatre as a means of examining how they exemplify a distinctive twentieth-century form of petroleum-based aesthetics.

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Aronson, Arnold. "Architecture Against Theatre." PAJ: A Journal of Performance and Art 45, no. 1 (January 1, 2023): 108–12. http://dx.doi.org/10.1162/pajj_r_00650.

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Crossfield, Scott A. "Design thinking of the Multiform Theatre: A case study." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A210. http://dx.doi.org/10.1121/10.0011068.

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Multiform Theatres are perhaps the most complex theatres to design. They must support the artistic aspirations of musicians, actors, dancers, directors, designers, and visual and aural artists in one highly flexible, transformable space. A true Multiform Theatre seamlessly supports the creation of art through automated architecture altering the Artist/Audience relationship and adapting to the artist’s spatial needs, while providing adaptable technical and acoustic opportunities that inspire new artistic forms. When done right, the architecture itself becomes part of the artistic process. How does one space change from a 625-seat Concert Hall to a 350-seat Recital Hall to a 250-seat Proscenium Theatre to a laboratory for Immersive Environments, Research and Experimentation? Join Scott Crossfield, ASTC from Theatre Projects as he guides you through the design thinking behind the new Multiform Theatre at Brown University—a radical, one-of-a-kind theatre machine designed to inspire innovative new art making, enable unprecedented artistic collaboration and serve as a hub for performance at the Brown University.

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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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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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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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Bellia, Angela, and Antonella Bevilacqua. "Rediscovering the Intangible Heritage of Past Performative Spaces: Interaction between Acoustics, Performance, and Architecture." Heritage 6, no. 1 (December 29, 2022): 319–32. http://dx.doi.org/10.3390/heritage6010016.

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The relationship between the shape and social use of Greek and Roman theatres has always been overshadowed by the technical and acoustic analyses of these performance spaces. Relevant ruins illustrate the relationship between performance typology, acoustics, and construction development of ancient theatres, which were mainly determined by the requirements of artistic venues. The music in tragedies and comedies, the dances, and the public speeches performed in the same places helped to shape the constructions according to the requirements of the events. In addition to the need to satisfy social and political interactions, the functions of musical performances and public speeches in theatres were maintained across generations so that they organically coexisted in both Greek and Roman times. This paper presents new insights into the relationships between sound and architecture, focusing on the case study of the Greek–Roman theatre of Katane and its evolution through the centuries. Architectural features have been described in terms of the social functions of the theatre rather than as mere results of geometric rules. A brief comparison with the neighboring odeion of Katane and other Greek–Roman theatres has been made regarding destination use.

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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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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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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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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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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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Boháčová, Kristína, and Alexander Schleicher. "Pop-up architecture as a tool for popularizing theatre: Prototype No. 1." Architecture Papers of the Faculty of Architecture and Design STU 27, no. 1 (March 1, 2022): 40–42. http://dx.doi.org/10.2478/alfa-2022-0006.

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Abstract This article builds on previous research dealing with temporary theatres in the context of Europe and Slovakia, discusses the topic of pop-up pavilions in terms of architecture, their use in marketing and as a potential tool for reviving the theatre scene. Just as temporary architecture can activate neglected areas in the city and bring stimuli for a permanent change, we believe that it can be equally stimulating in the area of theatre. The Shed by Haworth Tompkins is one of the examples to demonstrate a possible positive contribution of such designs to a permanent theatre and its surroundings. Based on the analysis of similar examples and statistical data on the attendance of theatre performances, we decided to design and implement a prototype of a minimal theatre scene, which also provides wide variability and can be used beyond the time dedicated to theatre activities. In the design phase, we examine the limits of variability and explore the basics of kinetic architecture. In the second phase after the object is assembled and implemented, the subject of research will be its impact on the environment, the extent of user interaction with the object and the overall functionality of the object. The ambitions of our project do not reach as high as presented in The Shed. The aim was to test the possibilities and viability of a much smaller object, to document the cultural, educational, and even economic benefits, in domestic conditions of Slovakia. Thanks to The Program for the Support of Young Researchers of the Slovak University of Technology and The PUN (Universal Design Support) Project No. 321041APA3 financed by the European Social Fund, the object is currently in production, and later will be moved to the faculty premises, surface-threated and then assembled for the very first time. The prototype should be fully available by the end of the year 2022.

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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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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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Betts, Mary Beth, Randolph Carter, and Robert Reed Cole. "Joseph Urban: Architecture, Theatre, Opera, Film." Design Issues 11, no. 3 (1995): 74. http://dx.doi.org/10.2307/1511777.

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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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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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Tronchin, Lamberto, and Antonella Bevilacqua. "The Royal Tajo Opera Theatre of Lisbon: From architecture to acoustics." Journal of the Acoustical Society of America 153, no. 1 (January 2023): 400–414. http://dx.doi.org/10.1121/10.0016861.

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Throughout history, many buildings of significant cultural value have been lost due to natural disasters (e.g., earthquakes, volcanic eruptions, subsidence, etc.) as well as other human causes (e.g., fire, war destruction, etc.). The Tajo Opera theatre was hit by an earthquake that led to the collapse of the entire structure eight months after it was built. This paper deals with the revival of the acoustic characteristics of one of the masterpieces of the architect Giovanni Carlo Sicinio Galli Bibiena. The realization of a three-dimensional (3D) model that faithfully reproduces the architectural features of the Royal Tajo Opera theatre of Lisbon allows the authors to perform acoustic simulations that reveal the sound field representing the environment perceived by the audience during artistic performances in Lisbon in 1755. In addition, the simulated results have been compared with the values of the Teatro Comunale of Bologna, which has a similar bell-shaped plan layout and has already been studied by the authors. For the comparison of the two opera theatres, both the stalls and the balconies have been considered.

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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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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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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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Kozien-Wozniak, Magdalena. "Theatre Architecture and Urban Culture: Project ‘A Theatre in Rio de Janeiro’." IOP Conference Series: Materials Science and Engineering 471 (February 24, 2019): 112057. http://dx.doi.org/10.1088/1757-899x/471/11/112057.

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Cardani, Luca. "The city as a theatre of characters. John Hejduk’s Masques." I2 Innovación e Investigación en Arquitectura y Territorio 9, no. 2 (July 15, 2021): 51. http://dx.doi.org/10.14198/i2.17415.

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The architectural work of John Hejduk (1929-2000) is marked by theoretical-design research, collected in series with titles and periods. Among these series the one entitled Masques, developed since about 1979, can be considered the nucleus of his research on the architecture of the city and the place of origin of his language of construction later developed in his realized buildings. This paper analyses the dense network of references and analogies established by Hejduk to create his Masques, trying to fix its origin in the idea of the city as a theatre of characters composed of architecture. Starting from the name chosen for the title of this series, the paper tries to trace the threads that lead from the general work of the various projects of the Masques series, to the reflections and ideas that produced it. Then, it comes back again to the observation of architecture and of a case study (Security, 1989), to understand and explain its meaning and the compositional methods involved into the process of genesis of form. Through the entire work named Masques, and its recognizable link with the buildings and installation realized around the world, Hejduk has built an archive of architectural prototypes ready to construct different parts of the city, thus highlighting the strong connection that his work establishes with reality in order "to conceive it, represent it and finally realize it".

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López, Fernando Quesada. "Temple, machine, caravan." Architectural Research Quarterly 23, no. 3 (September 2019): 225–38. http://dx.doi.org/10.1017/s1359135519000290.

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Between 1965 and 1975 there was an intense debate in Italy about theatrical culture, which encompassed theatre building and the urban, social, and political roles of theatre. It was articulated around three terms that imply three ways of relating the theatrical building and the city: the temple, the machine, and the caravan. This unusually rich debate has been largely ignored in the historiography of Italian and European architecture, despite its intensity and the importance of its protagonists for the architectural culture of the twentieth century.

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Graffer, Sidsel. "Teatervitenskapen og det romlige." Peripeti 16, S8 (December 2, 2019): 26–43. http://dx.doi.org/10.7146/peri.v16is8.117588.

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Performativ scenografi forstått som romlig iscenesettelse utøvd innenfor teaterinstitusjoner og teaterarkitektur utfordrer teatervitenskapen til å inkludere perspektiver fra performance studies, og til å inngå i interdisiplinære samarbeid hvor den situerer seg tett på, men likevel i kritisk distanse til scenekunstpraksis. Bare slik kan den adressere en komplisert og presserende problemstilling som autonomikonvensjonen i scenografi og teaterarkitektur. Performative scenography understood as spatial staging conducted within theatre institutions and theatre architecture challenges Theatre Studies to include perspectives from Performance Studies, to engage in interdisciplinary collaboration, and to situate itself close, yet within a critical distance to performing arts practice. From this position, Theatre Studies may fruitfully address complex questions such as the convention of autonomy in today’s scenography and theatre architecture.

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Erzen, Jale Nejdet. "Architecture – A Worldly Stage." Culture and Dialogue 1, no. 1 (July 23, 2013): 117–24. http://dx.doi.org/10.1163/24683949-00101006.

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This essay attempts to illustrate the vital dialogue there is between architecture and theatre, not only in the sense that the former resembles a worldly stage but also in the way it intentionally designates spaces for events to be seen and experienced. The origins of architecture go back to the erection of spaces to facilitate the dialogue between humans and gods. The stage is the embodiment and objectification of the flow of life. It makes it possible to contemplate both the present and the past thereby creating narratives. Architecture is also a mediator for us to observe our own actions. The theatrical quality of space in relation to the movements of the body and the bodily perceptions of spatial elements, leads to an active participation in the unfolding of meanings. The city has not only been defined as theatre by many urbanists; it has also throughout history been designed and formed as a natural stage. Baroque Rome, the impressionists’ paintings of Paris, or Byzantine Constantinople with its many spectacles illustrate well this dimension of the city.

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Camp, Pannill. "Theatre Optics: Enlightenment Theatre Architecture in France and the Architectonics of Husserl's Phenomenology." Theatre Journal 59, no. 4 (2008): 615–33. http://dx.doi.org/10.1353/tj.2008.0023.

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Emerson, Whit. "Theatre & Museums by Susan Bennett, and: Theatre & Architecture by Juliet Rufford." Theatre Topics 25, no. 2 (2015): 180–82. http://dx.doi.org/10.1353/tt.2015.0024.

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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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Ferrari, Rossella. "The Stage as a Drawing Board: Zuni Icosahedron's Architecture Is Art Festival." TDR/The Drama Review 55, no. 1 (March 2011): 137–48. http://dx.doi.org/10.1162/dram_a_00053.

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The multimedia performances of the Architecture Is Art Festival explore the connections of architecture, theatre, and architecture in theatre to voice a number of concerns relating to heritage preservation and technological development, historical memory and current politics. The interrogatives raised by these performances are intimately connected with the ontology of Hong Kong identity and testify to the spirit of traveling—through cultures, media, and disciplines—and the attitude of questioning that has become synonymous with Zuni Icosahedron.

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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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Romaniak, Ewa Maria. "Cricoteka – Theatrical Dimension of Architecture." Acta Universitatis Lodziensis. Folia Philosophica. Ethica-Aesthetica-Practica, no. 30 (December 30, 2017): 67–80. http://dx.doi.org/10.18778/0208-6107.30.05.

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The paper concerns the analysis of the building of Cricoteka in terms of theatricality, which is the role of architecture in the performance of city life. It discusses such aspects as the transfer of the idea of theatre onto architectural form, the dialogue with the viewer, the place of the building in the city and the influence of the object on the environment by generating tension between individual elements of composition solids. Theatrical dimension of architecture might be understood as a spectacle, invented and robust physiognomy, but also intriguing visual appeal. Through the versatile architectural costumes the architecture puts on, especially contemporary architecture, which stands out from the other buildings, tends to be incomprehensible to its recipients. Aiding the comprehension of the message, as well as its conscious shaping by the authors, is key to mutual understanding and establishing the dialogue. The detailed analysis of the building’s interior, which is the key aim of a project of Cricoteka, remains out of scope of this work.

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Burian, Jarka M., and Marvin Carlson. "Places of Performance: The Semiotics of Theatre Architecture." Theatre Journal 42, no. 3 (October 1990): 395. http://dx.doi.org/10.2307/3208100.

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Proskuriakov, Victor, Bohdan Hoi, and Roman Savchak. "State of polish theatre architecture research in Ukraine." Środowisko Mieszkaniowe 23 (2018): 167–71. http://dx.doi.org/10.4467/25438700sm.18.047.9212.

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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.

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Kellogg, Craig. "Theatre Underground." Architectural Design 75, no. 2 (2005): 98–100. http://dx.doi.org/10.1002/ad.56.

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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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LAZARENKO, V. A., V. V. KHARCHENKO, L. M. RYAZAEVA, and L. A. MANTULINA. "ANATOMICAL THEATER OF A MEDICAL UNIVERSITY AS A SOURCE OF EDUCATION AND TRAINING OF A MEDICAL STUDENT." Archivarius 7, no. 8(62) (November 20, 2021): 16–19. http://dx.doi.org/10.52013/2524-0935-62-8-3.

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In the article it is reflected the history of the opening of the anatomical theatre of Kursk state medical university and sections of the anatomical museum’s exposition are described in detail. The authors highlight the importance of this university structure not only on students’ education, but also in raising of the younger education. Creation of anatomical theatres was an important stage of anatomy’s formation as a basic medical science. The theatre’s architecture and exhibits are created by traditional methods and innovative technologies.

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Decheva, Violeta. "The Theatre of Bauhaus." Sledva : Journal for University Culture, no. 40 (April 7, 2020): 26–31. http://dx.doi.org/10.33919/sledva.20.40.6.

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How Bauhaus movement informs not only modern architecture but also modern theatre, dance, art, music, the structure of the stage, the idea of the space, etc.? The ‘theatre of Bauhaus’ is not a clear system of ideas shared by all the participants in the movement. On the contrary, there are many internal conflicts. But we could speak of concepts that were developed and became influential through Bauhaus, especially after the ‘branding’ of the movement in the US in the second half of 20th century.

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Moore, Paul S. "The Optical Vacuum: Spectatorship and Modernized American Theatre Architecture." Canadian Journal of Film Studies 28, no. 2 (December 2019): 92–95. http://dx.doi.org/10.3138/cjfs.28.2.2019-0043.

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Smitheram, Jan. "Event-Space: Theatre Architecture and the Historical Avant-Garde." Fabrications 29, no. 3 (September 2, 2019): 436–38. http://dx.doi.org/10.1080/10331867.2019.1661061.

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Filmer, Andrew. "Dramaturgy and architecture: theatre, utopia and the built environment." Studies in Theatre and Performance 36, no. 2 (February 19, 2016): 196–98. http://dx.doi.org/10.1080/14682761.2016.1147714.

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Pye, Valerie Clayman. "Shakespeare's Globe: theatre architecture and the performance of authenticity." Shakespeare 10, no. 4 (August 7, 2014): 411–27. http://dx.doi.org/10.1080/17450918.2014.938688.

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Hann, Rachel. "Dramaturgy and Architecture: Theatre, Utopia and the Built Environment." Theatre and Performance Design 3, no. 4 (October 2, 2017): 255–57. http://dx.doi.org/10.1080/23322551.2017.1407511.

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Filmer, Andrew. "Event-space: theatre architecture and the historical avant-garde." Theatre and Performance Design 4, no. 3 (July 3, 2018): 284–86. http://dx.doi.org/10.1080/23322551.2018.1536438.

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Ro, Brandon Richard. "Blending the Subjective and Objective Realms of Sacred Architecture at the Pantheon: Creating a Comparative Framework for Evaluating Transformative Experiences in Ritual Contexts." Religions 13, no. 1 (January 14, 2022): 75. http://dx.doi.org/10.3390/rel13010075.

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This paper seeks to create a comparative framework for evaluating transformative experiences for different types of ritual contexts found in sacred architecture by bridging the gap between the phenomenology of human experience and architecture’s built conditions. The methodology creates a framework for statistical analysis, whereby evidence of people’s actual (i.e., real, lived) “subjective” experiences can be evaluated against the “objective” architectural conditions. The comparative framework is put to the test by comparing the experiential and environmental conditions found at the Pantheon in Rome. Experiential data for the Pantheon is extracted from Julio Bermudez’s large survey database (N = 2872) of “extraordinary architectural experiences” for this study. This data is compared against “objective” graphical architecture analysis using Lindsay Jones’ “morphology of ritual-architectural priorities” with a specific focus on ritual contexts. The quantitative and qualitative data reveals that the Pantheon produces transformative experiences for visitors that are related to the expected outcomes of specific design features. The percentages from the “objective” and “subjective” analysis both rank the priorities of theatre, contemplation, and sanctuary in the same order. This study concludes that built environments possessing a higher presence and quality of “ritual-architectural priorities” are more likely to be perceived as sacred and produce transformative experiences.

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Aknesil, Ayşe Erdem, Neşe Yüğrük Akdağ, and Zerhan Yüksel. "Acoustic Evaluation of a 19thCentury Ottoman Palace Theatre." Architectural Science Review 48, no. 2 (June 2005): 179–86. http://dx.doi.org/10.3763/asre.2005.4822.

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Tronchin, Lamberto, Francesca Merli, and Marco Dolci. "Acoustic Reconstruction of Eszterháza Opera House Following New Archival Research." Applied Sciences 10, no. 24 (December 9, 2020): 8817. http://dx.doi.org/10.3390/app10248817.

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The Eszterháza Opera House was a theatre built by the will of the Hungarian Prince Nikolaus Esterházy in the second half of the 18th century that had to compete in greatness and grandeur against Austrian Empire. The composer that inextricably linked his name to this theatre was Haydn that served the prince and composed pieces for him for many years. The Opera House disappeared from the palace complex maps around 1865 and was destroyed permanently during the Second World War. This study aims to reconstruct the original shape and materials of the theatre, thanks to the documents founded by researchers in the library of the Esterházy family at Forchtenstein, the Hungarian National Library, and analyze its acoustic behavior. With the 3D model of the theatre, acoustic simulations were performed using the architectural acoustic software Ramsete to understand its acoustical characteristics and if the architecture of the Eszterháza Opera House could favor the Prince’s listening. The obtained results show that the union between the large volume of the theatre and the reflective materials makes the Opera House a reverberant space. The acoustic parameters are considered acoustically favorable both for the music and for the speech transmission too. Moreover, the results confirm that the geometry and the shape of the Eszterháza Opera House favored the Prince’s view and listening, amplifying onstage voices and focusing the sound into his box.

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Khazova, Natalia V. "Formation of Alexandre Benois’s Views on Saint Petersburg Architecture of the 18th and the Early 19th Centuries." Observatory of Culture, no. 5 (October 28, 2014): 72–78. http://dx.doi.org/10.25281/2072-3156-2014-0-5-72-78.

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Traces the emergence of Alexandre Benois as a theorist of Saint Petersburg Baroque and Classicism architecture. The author analyses the role of the artist’s family and the impact of theatre and music on elaboration of Benois’s approaches to architecture.

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Journal articles on the topic 'Theatre Architecture'

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