Theatre Design & Technology - Spring 1994 - 48

A- Fronr of the ,1lI1,WUIII.
B- Fronr or aet curtain. lo\\'ered.
C- Arc of the fornix. c1o,ed L,,' the curtain.
which wa, raised on the mm'eable scene
\\'hich \, th,H lower into the scene.
0- Fomix \\'hich cre,Hes the "e\'e of the scene,"

R().xo GIOJ((h1l1o Je .-\kuhlcrre \\J~ J (olond 01 englwho h.1J ':Ollll' from ~rJ1I1 Wlih tht' .umy 111 [hc
"'t'r\II.:C l\:1I12. ChJrle~ III ot ;"';Jrle~ [0 ou)t the .-\u)tri.ln)
.1I1J c")[Jhll .. h Il)(JI rull'. ChJrlt·...h)lgneJ him thl~ tJ)k
01 c,\(J\.H1ng Her.:uI.1t11'um. Tht' bner \\.1) ,111 untonu11.111;" (hOla .. 1I1':t" he h.lJ no rCl!JrJ for Jn~ thmg. ('x(ept
.. pe(tJ.:uiJr IJnl.b. lie \\'.1) gUilty of su.:h ~lUrldUle) JS
rt'mO\ing hronze lettcr~ trolll monument) wlthom I?'\er
r\·JJlI12. .lnd rt'.:orJil1g. [hl' 1I1~I.·flrI10n. Hl' \\J~ .Ktl\e
trom 1-34 until hI.' \\.h gr.1dllJ.lly pll\lheJ JSldl' hy the
":t\\I~~ .1f.:hltl?'([' l\:.1f1 \·fehl·r ..111 imelligenl. orJl'rI~' n1.111
who lInJer)[()oJ .1IlJ rl·3pe....teJ wh.n he W.13 JOlllg .1t1J
whom :\kuhll?'rfe rcgJrJl'd .Iud tfl·.1tt'J .1~ .111 3rch
l·t1l'my, FOrrUll.ltl·ly. tht.' ,)f[If.lCiS whICh ",ur\l\cd
.-\kuhll'fre·\I de)iflKII\I;" nll..'rhuJ) wcre ukl'n JW3Y to
rhl' IlunKI P.I!.l(l' where.' [hl'y ren1.1l1leJ till they were
rt'mO\eJ ro :".Ip[C).
nl'l'r~

A- A lioll of .KilI.llly
hell1g !n(JrccrJIt.,J 111 thl~ howels of )ome o\t'r\\helrnll1g
.1fdllte.:tur.ll iJntJ~y. Ilc nuJe .1I1d )old Buny II1t.lg.lio
print") of thl' ..e ..(ene ... Thl, ..e rrint ...1fe \ltill highly prized
,h hne .1f1-

Figure [1].
From View of the Tragic Scene
A- Esrerior of a p,llace in rhe cemer of rhe
scene \\'ill be used in the first act.
B- The door on the right \\'hich represenrs a
noble hospice or inn for the second lactl.
C- The Idoor I on the left Iis I a prison to be
used in the third lactl. It should be noted
that the rest of the aerion. a, well as the
mishaps \\'hich occurred in the other tWO
types of scenes. came directh- from the lateral doors or emrances of the !Jroscelli hUfll,J hene.uh the lOwn Of
Rt.''')II1.1.

11

o{ thl' ",c.:onJ ':l'tHur~
\\ho l.."omro')eJ .1n l·n(~dopl'dl.1 contJII1Itlg. Inform.lIEOn on Grl·t;'k .1tlJ Rom.IIl the.Hcr. :\([U.1I1y. wc
]l'.1ftl \cry ]mll' .1holll "t.lgl' m.h.:hll1c, from hllll. C'(l'rt
IOf .1 r.ltlJom nOllll'IKl.lIurl· wuh Imrrl'':I~l' ,ll1u>tI01l'l to
U"'l', ;"':eltha do Wl' k,lrn \ lory 1ll11l.."h lrom rhl' R0l11.1n
.1f...·hUl'....r. \'ltrll\llI'" .\ I.Ir.:u" \'jtru\lll'> Poilu). \\ ho Il\eJ
Ill·.1f dll' l'nJ ot he I.."l'llIllfy B( . Wh(hl' tl'll hook" l'llIidnlLJt' .lrd.llll'((lIr.l. .1rl' rhl' onl~ l..-I.l~\llcll [l"1 Oil .Ir.:hl~
tl'l..lllfl· to h,l\l' ")lIf\l\l'd. \\'h,lI we do IC.lf11 trom the
burh ot thl'Ill h .. Uhll·d 10 mu.:h Jeh.ul· ,lIlJ l1ltl·rpret.l·
flOIl. Illo.,th- (on(l'rnll1~ rhl' flt'rlJktOl. whl.:h rl·I11.1111 onl'
01 thl' ~rl'.lI m~ .. tl'flt.'>t 01 .ml1l·1lI ~t.lg.l'.:r.lIL TIH1~. to rhe
.1Irl·.IJ\ \\ell known "'r..·dILwUlh on thl'lr lI':>l' .II1J p!.l(c·
Illl·l1t, we m.lY .1JJ thl' prt',,)l'll[ work. For reflllll'l1I
.. l"1l· . . tlOlh Irom hotl1 .1IIthor ..... l·l' .-\. ~t. ;"':.ndn. A
\"UT.·,' RlJuk 11/ 11·.·.1(Th-.tI }lJ~((j1) ;"';1.'\\ York, 19'"2,.

FI\!IS

Fulbright

,1IId

SlIIithsol/itl/1 scho/tlr, tlssocitlte proFessor tlt

PLATE G\:.
View of the ,\ loveable Scene Apparatus for the
Tragic, Comic and Satiric Scenes and the
Pulpitum in Perspective

46

~

P R I :-.; C,

I Y '! 4

r

J) ~I

II/ditl/hl UI/il'ersity

tlutlJOr
/lge

0/

0/ Pelll/sy/l'tll/i,l, ,111d

"/lrdJite([ure ill thc Btlroql/c

0/ nClltre" (TOG'T,

\\,'il/ter 1992).

work.

JUIUh Pollux \\ .1\1 .1 (,rn'''' )ophl)t

.\.1).

RIGHT-Another \\'hich is similar, the onl\' difference heing in the feet. It is now in the "ortici
.\ luseum.

tl

to thl~

10

LEFT-Bronze folding scat retrie\'ed from the trihunalia of [he The.Hre.

is

Leipzig. 19331 \. X\:\'II. -9.

('lhLl\ '" of SweJl'n j 1-46 -1-91), him~di. .1 p1.ly.
wflght of no me.ln Jl.."hlt;'\"ernent. WJS J.n JfJent SllPP0f[er or the 3.fb who ,trO\l' to nuke [he3tre. together with
rhe gener.ll .:uhur.t1 life of hi, country. 1I1tnn5K.llly
SweJi~h rJrher rh.1I1 foreign_

Figure IV.
Perspective of [he HyposcelliulII, or From of the
PulpituIII and its Wooden Floor with Parrs
Indicated in Plates I And V1
Captions AbO\'e the Scars on Ei[her Side of
Figure I

h.1J worker.. on [he sue Irol1l I-U9 till

J(hr.'rh J, Dr.'i)). }-lerml.mt'l/11l: luly's Bllrlt,d Trt',l:mre
Crowdl. :"ew York. 19661 129.

Figure Il.
Fronr View of the Comic Scene with the Same
AulaeuIII and FOl7lix

.-\ LT

Junng Whh:h 111lll' he: h..lJ an\lhlng remo\-Jble
from rhe Ihe.Hrc.'. Jnl.:luJcJ hronll''', m.uhle 1.1(-

In IJlrnl'~~ It ~hould hl' .1ddl,J ih.lt 3u..:h rrJdi(e~ wcre
not urKommon JUflJ1~ Ih.lt l'f.1. .-\n(icnt bnd, C\l'rywhl're \\"l'rc rlunJerl'd .1I1J looted for lfl'.l .. ure with no
rl'C,1rJ for the integflty ot .1I1I1qUIiY or e\'ell propen~
flghh of rhe rrl' .. r.'nI.

which issues forth direcrh- the fir;,[ ,let of the
allO\'e menrioned I;,cenel.
0- Door to the righr of the \'iewer, of crude
construction ,1I1d ,liang side or ,It the end of
a road \\'hich will be used in the second t Illl·.ln'i
.lllti H l":I prob.lhl~ .1 tefm l..'Ollll'd by 1'1f.1I1C>t1 hll1hl·11. or
hllfrtl\\nl trtllll ... llffl'll[ "'t.Igl' tl·fllllIl0Iogy. I hI.' gl·m'r.ll
http://www.ih.lt http://www.Ih.lt http://www.Thorn.ls http://www.p1.ly http://www.m.lY
Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1994
