Theatre Design & Technology - Winter 1985 - 21

Palladio seemed to outdo himself in
his design for Trissino. The second
temporary theatre was designed in 1565
for the Compagnia della Calza in the
Convento della Carita in Venice. He
arrived at this plan after spending many
years pursuing and measuring the remains of Roman theatres. Palladio designed another theatre in 1564 -1565
that Vasari, referring to the exterior
fayade, claims was like the Colosseum.
The theatres of 1561 and 1562, according to wall frescoes of the 1590s, approximate the design of the Teatro
Olimpico.
After accepting Palladio's design,
the members of the Academy, in 1580,
petitioned the Town Council of Vicenza
for permission to build a permanent
theatre on the grounds of the old prison.
In 1581 the Academy presented another
petition in order to "obtain those areas
which the surviving part of this wondrous city possesseth, with as much
ground as shall be needed to create a
perspective without which the old prisons will not be given perfection.'" Palladio was given an irregularly shaped
space, 108 feet by 66 feet.
The narrow and irregular space
forced Palladio to forego the strict reproduction of the Roman theatre. It
was obvious that the proposed design
would have to be modified, since the
physical circumstances exacted of him
a dissolution of Roman architectural
features.
Palladio could not have been immune to the sixteenth-century spirit
that was becoming increasingly distrustful of the earlier Renaissance ideal
of Castiglione's Courtier: confidence
in the comely order of the world. The
disturbance showed itsel f in the breakdown of the concept of proportion with
experiment taking the form of ingenuity, often for its own sake. Specifically,
Palladio treated the wall as the basic
architectural structure with engaged
columns and arches added as nonfunctional, urface ornament. He no
longer used the column or arch as the
basic structural unit, as it had been in
Roman architecture. In Venice at the II
Redentore, Palladio ran huge pilasters
up the entire fayade, creating the effect
of heavy sculptural mas that fought
the purity of the architectural fa<;:ade.
Thus the architecture was becoming
more decorative than functional, resulting in the eventual loss of unity in

the architectural composition. The integration of space was losing its rational structure.
Medieval and early Renaissance
forms also influenced Palladio's style.
Medieval painting and the space art of
the tableaux vivants were probable influences on Renaissance theatre, especially in the search for three-dimensional
reality. However, the medieval religious drama was a time art and, as
George Kernodle points out, its processional quality was similar to that of the
art of the frieze. The medieval multiple
units must somehow be organized into
a unity, for a single focus was beginning
to be insisted upon by Renaissance artists. The sixteenth-century spectator
had, in fact, been viewing artistic compositions that were becoming more and
more unified at least one hundred years
earlier. The Renaissance man was now
ready for a theatre space art when, indeed, the discovery of perspective had
been making slow inroads upon the
painting and panels of the fourteenth
and fifteenth centuries. Consequently,
a new type of stage, derived from medieval arts and from Vitruvian precept was derived. It attempted to reproduce [he splendor of the ancient
theatres and at the same time the
space concepts and conventions implicit in a new age.'
What, then, are the medieval and
early Renaissance conventions that in
fluenced sixteenth-century artists and
designers? According to Kernodle,
they are the conventions of the exterior
setting, the development of the architectural screen, and the development of
the side house. It must be pointed out
that these conventions originated in the
Hellenistic theatre in a slightly different
form but they were carried on by artists
of the Middle Ages and were somewhat
revived after the proto- Renaissance of
Charlemagne.
Kernodle points out that the architectural background used in early
painting is composed mainly of exterior
forms.~ It is probable that painting
took this convention from the Hellenistic theatre. No malleI' what the nature
of the scene, it is generally played outside and ill frollf of the fa<;:ade. The
stage becomes a street or a temple
courtyard. Medieval art used the exterior in an equally conventional way. In
Gentile Da Fabriano's panel, The Adoration of the Magi (1432), the stable is

a side wall serving as a fa<;:ade for the
Holy Family arranged outside, in front
of the fa<;:ade. Similarly, GiOllO's
panel, Madonna Enthroned (1310),
presents the Madonna outside, seated
on a throne that is at once the background and a functional seat. In Italy,
this outdoor convention was still utilized by sixteenth -century painters and
indirectly influenced theatre art.
The convention of the architectural
background, like that of the exterior
scene, was probably derived from the
Helleni tic theatre. In this theatre the
architectural background was usually
decorated with columns and pediments,
with three, four or five openings. It often had separate side structures, composed of a roof and columns either
open as a baldacchino or with solid
walls and a door. Later, the arcade
screen and the side houses would be the
means to achieve greater depth. This
can be seen in Pietro Lorenzetti's The
Birth of the Virgin (1342) that used an
arcade screen both as a background and
a series of interiors. Doors in the back
wall of the screen open out to reveal
action on another plane. The concept
of multiple units of meaning is still employed but depth replaces a flat surface
and the eye is pulled toward a focal
point. Renaissance painters introduced
a single focal point, giving depth, focus
and unity. The arcade screen essentially
provided the artist with the means of
control space.
The third major influence was the
development of the side house. It related in its origins to the parascenia. In
the Hellenistic theatre, it might have
housed tage machinery. However, it
was important for another reason: the
side house related the background to a
single location of the eye, for it often
was a continuation of the backscreen.
From the combination of the two conventions artists may have arrived at a
means to achieve depth and interiors.
The Renaissance theatre multiplied the
side houses, gaining even greater depth.
This multiplication convention was already being explored in fourteenthcentury painting. To achieve the effect
of great distance the floor and sky, as
well as the side houses, were considered
in terms of a central vanishing point.
The development of perspective,
with origins in the side houses, can be
seen by comparing Melchior Broederlam's panel, The Presentation ill the

USITT Wil1ler 19 5 Thealre Design &

Technolog~

t9



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1985

Contents
Theatre Design & Technology - Winter 1985 - 1
Theatre Design & Technology - Winter 1985 - 2
Theatre Design & Technology - Winter 1985 - 3
Theatre Design & Technology - Winter 1985 - Contents
Theatre Design & Technology - Winter 1985 - 5
Theatre Design & Technology - Winter 1985 - 6
Theatre Design & Technology - Winter 1985 - 7
Theatre Design & Technology - Winter 1985 - 8
Theatre Design & Technology - Winter 1985 - 9
Theatre Design & Technology - Winter 1985 - 10
Theatre Design & Technology - Winter 1985 - 11
Theatre Design & Technology - Winter 1985 - 12
Theatre Design & Technology - Winter 1985 - 13
Theatre Design & Technology - Winter 1985 - 14
Theatre Design & Technology - Winter 1985 - 15
Theatre Design & Technology - Winter 1985 - 16
Theatre Design & Technology - Winter 1985 - 17
Theatre Design & Technology - Winter 1985 - 18
Theatre Design & Technology - Winter 1985 - 19
Theatre Design & Technology - Winter 1985 - 20
Theatre Design & Technology - Winter 1985 - 21
Theatre Design & Technology - Winter 1985 - 22
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Theatre Design & Technology - Winter 1985 - 25
Theatre Design & Technology - Winter 1985 - 26
Theatre Design & Technology - Winter 1985 - 27
Theatre Design & Technology - Winter 1985 - 28
Theatre Design & Technology - Winter 1985 - 29
Theatre Design & Technology - Winter 1985 - 30
Theatre Design & Technology - Winter 1985 - 31
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Theatre Design & Technology - Winter 1985 - 50
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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