Theatre Design & Technology - Fall 1987 - 37

Boo~ Reviews
Tom Mikotovvicz, editor

The Theatrical Writings of
Fabrizio Carini Motta,
Translations of Trattato
sopra fa struttura de'Teatri
e scene, 1676 and
Costruzione de teatri e
machine teatrafi, 1688

with an introduction by
Orville K. Larson and translated
by C. Thomas Ault and
Orville K. Larson.
Carbondale and Edwardsville:
Southern Illinois University Press,
19 7.ISB 0-8093-1337-5, xi 125 pp., ill., 519.95 cloth.

N

Ot many theatre historians are
familiar with the work and
writings of the seventeenth-century
theatre architect, scene designer, and
stage machinist Fabrizio Carini
Motta. Motta served the Gozago
Court, located in Mantova, Italy, as
the Prefect of Theatres and Architect
to Duke Ferdinand'o Carlo IV between the years 1671 and 1699. In
this work edited by Orville K. Larson, who co-translated the text and
wrote the introduction, the reader is
afforded a rather specific view of seventeenth-century Italian playhouses,
and is treated to some surprises concerning the history of scenic design.
Larson presents tWO works that
were written by Carini Motta. The
first, Treatise on the Structures of
Theatres 6.) Scenes (Trattatoj. was
translated by Larson from a twentyfour page published manuscript containing fourteen line drawings.
.\1otta' volume, suggests Larson, is
unlike the writings of Serlio, Sabbatini, and Furttenbach in that it
treats the theatre auditorium as a
separate edifice. Larson further suggeSts that "the evolution of the theatre form Iderived] "from the intellectual academies of the Renaissance
courts."
Consisting of fifteen chapters, the
Treatise on the Structures of The-

atres 6.) Scenes contains information
on the construction of several variations of theatre buildings. Because
these forms were already in existence, Larson admits that there are
no new elaborate ideas in these writings. After an acknowledgement to
his Serene Highness, the Duke of
Mantova, which should be read for
its display of ebullient humility,
Motta compares the theatres of his
time with those of the ancient
Greeks and Romans. The text continues by providing the fundamental
requirements for a functional theatre
facili ty, and by teaching lesson in
sightlines, vanishing points, and fire
exits. Much of this translation i
aml: ing in itS inherent naivete and
wordiness, but nevertheless it is intriguing to observe a seventeenthcentury architect's concepts of the
ideal theatrical ambiance.
10tta's second work included in
this book was an unpublished manuscript written in 168 titled Construction of Theatres and Theatrical
Machines (Costruzione). Translated
by C. Thomas Ault and Larson, this
work consists of twenty-three discourses and fourteen plates of twenty
three diagrams. Larson asserts that
this is the first comprehensi ve study,
combining text and illustrations, of
the Italian stagehouse and its equipment. As in his first work, lotta
does not incorporate exotic or special
machinery in his explanations. He
focuses only on equipment that one
would expect to find in a sufficiently
outfitted playhouse. Larson contends
that this manuscript describes more
ophisticated machinery than Sabbatini's writings did fifty years earlier, showing a development during
that period. Motta present his system for constructing auditoriums,
stages, sub-stages, and the grid area.
He describes such machinery as the
wing and chariot system mechanisms, flight machines, and the lighting system apparatus. As a result of
his research, Larson has written an

article in Themre SUl'l'e.\ยท titled
" -ew Evidence on the Origins of the
Box Set" (Novem.ber 19 'a, p. 2.). The
article is based on Larson's discovery
of how Motta hung flats on chariots
which moved to form box settings.
What possibly ntakes this volume
unique is its sheer presence. Motta
has been all but ignored throughout
history. Although copies of the original do exist in this countr)j it was
largely due to the efforts of Edward
A. Craig in Engla nd that a reprint was
published in 1972 by the Archivio del
Teatro Italiano of the University of
Rome. Craig also published a photocopy ten years later. As a result,
:Vlotta ha been featured with growing frequency in Italian exhibitions,
and a clearer picture of the seventeenth-century stagehouse has
emerged. Moreover, these writings,
revealing Motta's dual role as stage
designer and archi tect, reflect the total concern for the theatrical experience that was attempted in the seventeenth century.
Tim _\i1ikotoll'ic::.
Scenographic Techniques:
Third Edition

by W Oren Parker
Carbondale and Edwardsville:
Southern lIlinois University Press,
1987 ISBN 0- '093-1350-2, viii 150 pp., 512.95 paper.

riginally p.ublished in 1957 as a
trial text tor technical production classes at Yale University and
revi ed in 196-+, Scenographic
Techniques has proved invaluable
throughout the years and has no\\'
undergone its third revision. Initially, Parker developed his text to
codify the basic drafting techniques
that he taught at Yale. Later, at Carnegie-Mellon University where he is
now Professor Emeri tuS, he added
"Part Two: Graphic Solutions." His
current revision takes the reader fur-

O

TD&T

*

FALL 1997

35



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

Contents
Theatre Design & Technology - Fall 1987 - 1
Theatre Design & Technology - Fall 1987 - 2
Theatre Design & Technology - Fall 1987 - 3
Theatre Design & Technology - Fall 1987 - Contents
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