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In this book, Eugene J. Johnson traces the invention of the opera house, a building type of world wide importance. Italy laid the foundation theater buildings in the West, in architectural spaces invented for the commedia dell'arte in the sixteenth century, and theaters built to present the new art form of opera in the seventeenth. Rulers lavished enormous funds on these structures. Often they were among the most expensive artistic undertakings of a given prince. They were part of an upsurge of theatrical invention in the performing arts. At the same time, the productions that took place within the opera house could threaten the social order, to the point where rulers would raze them. Johnson reconstructs the history of the opera house by bringing together evidence from a variety of disciplines, including music, art, theatre, and politics. Writing in an engaging manner, he sets the history of the opera house within its broader early modern social context.
This volume begins with the post-Baroque re-emergence of Classicism, the Neoclassicism of the late-18th century, examining trends and influences in the philosophy of art and architecture during the period. It examines selected theoretical writings of Pierre Patt, Paolo Landriani, and Etienne-Louis Boulle to show the development of a Neoclassical style in theatre architecture, as well as the more fanciful directions in the designs of Boulle. It examines their influence in other areas of theatrical arts: artistic vision, theatrical aesthetics, stage lighting, and scenic design. The appendices contain translations and commentary on revelant works: Patt's writing on stage lighting; Patt's writing on acoustics; Landriani's writing on scenery and box sets; Landriani's writing on the differences between French and Italian theatres; Ferrario's writing on the uses of auditoriums; and Boulle's writing on the art of architecture.
Explores the cultural, social, and poltical aspects of theatrical architecture, from the threatres of ancient Greece of the present.
Baroque theatre spectacles are frequently celebrated for their overwhelming effects and marvelous technologies. However, little is known about how the mechanical knowledge for elaborate stage machineries was actually acquired by architects and engineers, and how it disseminated throughout European theatre cultures with regard to specific religious, social, political as well as economical contexts. So far unnoticed by historians of theatre and performance, the early seventeenth-century codex iconographicus 401 (Bavarian State Library) offers new insight to the transfer of mechanical knowledge and theater technology. This manuscript can now be attributed to Joseph Furttenbach (1591-1667), building master of the Swabian city of Ulm, today best known for his numerous publications on architectural theory. The codex incorporates technical drawings and descriptions of the theatrical machineries invented and designed by Giulio Parigi for the epoch-making festivals at the Medici court in Florence. The invention and construction of theatrical machineries was taught at Parigi's Florentine academy of art and engineering, which Furttenbach attended. Besides an English translation of Furttenbach's manuscript (originally written in German language), this volume collects studies at the intersection of theater, architecture, and technology, proposing an innovative approach to the historiography of early modern theater.
This volume brings together experts in the field of Renaissance theatre architecture. It considers concepts and applications of theatrical space during the early modern period.
This book examines the invention of the architecture of the modern opera house in Italy between the late fifteenth and late seventeenth centuries.
This text is a comprehensive reference to all aspects of theatre planning and construction and a history of theatre design from ancient times to the present. Drawing on examples from Greek and Roman models to Renaissance and baroque theatres to contemporary buildings around the world, it discusses such requirements as structural systems, seating, acoustics and visual volume in detail, considering the optimum conditions for both musical and dramatic performance. This edition includes, as an appendix, a new set of drawings, in addition to the original 900 illustrations.