Theatre Design & Technology - Fall 1987 - 25

masters then alive. This caused our generous nobility to
consider the erection of a new theatre which in magnificence and immensity should surpass the one that was
destroyed. A short distance from the one that burned,
the spacious site called Guasto Bentivali was found and
this site was selected in favor over all others as the best
choice for building a new theatre.
Having acquired this space then, they selected Signor
Cavaliere Amonio Galli-Bibiena, Theatre Architect and
son of Signor Ferdinando Galli-Bibiena 2o , greatly renowned for his beautiful theatrical creations and the
operas which were brought to life in that genre, whose
idea he architectllred landl which is seen in the attached
ground plan and longitudinal elevation.!!
It was by mere accident that this little work was created. The accidem was simply not having had any intention to do a ground plan and elevation of the whole
theatre, but only a ground plan and elevation of the

seating for about 800 people, not including the aisles.

-t. Orchestra lpitl with a capacity of about 60 musicians.!!
5. Three entrances to the pJatea.
6. Lobby or entrance hall at the front of the theatre.
7. Two large exits which provide access from the auditOrium
to the above-mentioned lobby or entrance hall.
8. Opening through which the scenery is passed into the
above-mentioned lobby or entrance hall to be painted.
9. Main entrance through which one enters into the lobby and
then into the auditOrium.
10. Portico in front of the theatre and O\'er the street.
11. Stone stairways which lead to the fh'e levels of boxes.
12. Restrooms between the above-mentioned tairs at every
lenl of boxes for sen'icing each respective le\'el, itself.
13. Magnificent box for the use of the higher nobility on the
second level, directly facing the stage.

auditorium and boxes, and even that without any explanation. However that may be, such a thing had a very
scam and meagre appearance. The work had to be something more pleasing, not only for those outside the community but for our nobility and citizenry who, knowledgeable and judicious as they are, would be in a good
position with this little work, a co-work so to speak, to
make the opening more brilliant and dignified, and not
miss a single detail, thus following the example of our
neighbors who thought similarly when they opened the
uovo Teatro di Reggio of Lombardy in the year 1742.
We are gratified, therefore, with the publication of this
little work to have, in one blow, both adorned the city
and the theatre and touched the wisdom and genius of
the nobility and citizenry. Also, those from outside the
community will not be left without such a monumem
on this occasion and I shall have the glory and esteem of
having cooperated with all of you in such a labor.
I-t & 15. Two large boxes in the proscenium on the second
level for the private use of the higher nobility.
16. Proscenium.
17. Pulpit, or stage, with its gradiated streets, their open slots
cut into the stage and the chariots for moving scenery."
18. Place for the lights around the Ifront of] the stage with
their machinery beneath the stage to raise and lower Ithe
lightsl as needed.
19. Aperture in the stage where the prompter is.
20. Backstage room which continues back for about 30 feet to
provide use by by extendin o the depth of the stage.
21. Two flights of stairs which continue to the various levels of
the stage, going down beneath the stage and up to the tWO
floors or bridges for the operators who work in the grid of
the stage.
22. Place where the tickets are sold.

TD&T

FALL 1987

Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1987