Theatre Design & Technology - Summer 2007 - 35

Figure 2. Valenciennes Passion Play

The mansion stage was used extensively
in Europe for performances of religious plays
and is best known by the Valenciennes Passion
Play miniature of 1547(fig. 2). It is comprised
of a row of houses, set side-by-side on a wide
platform, or tribunalia. Each house represents
a performance site or locus for the action of
the various episodes in the performance. The
same arrangement was used in the performance
of the Menaechmi in Ferrara. From an anonymous court chronicler we learn: "On the twentyfifth day [of January], the Duke Hercole da Este
caused a festival to be done in his court and there
was done a work of Plautus called the Menaechmi. There were two brothers who looked like
each other, but did not know each other; and it
was done on a tribunale of boards, with five houses with battlements and a window and door for
each one."(Diario 1939)
A sketch in a copy of Angelo Beolco's Betia provides an example of this type of stage
used for a secular drama.2 The setting (fig. 3)
consists of three houses set on a tribunalia. The
center house is labeled "ostaria" (an inn) while
the one stage-left is labeled "casa de berthia"

THEATRE

34

DESIGN

&

(Bertia's house). A flag running off-stage from
Bertia's house reads "via publica" (a public
street). It is probably typical of the stages used
in Ferrara for many years.
Leto's booth stage is also called the "Terence stage" as drawings of it are in the 1493
Lyons edition of Terence's plays. Based on a
theoretical reconstruction of a classical Roman
theatre taken from Vitruvius (fig. 4), the Roman
scaena frons assumed a booth configuration
(fig. 5). Signs over the door indicate the character entrances, similar to the houses on the mansion stage. The heraldic devices over the doors
advertise the patrons who sponsored the play.3

The Perspective Stage
The perspective stage quickly supplanted
the above types in the early sixteenth century,
though it did not happen all at once. Perspective first appeared on the stage in Ferrara, 1508,
for a performance of Ariosto's La Cassaria. A
letter from Bernardino Prosperi to Isabella
D'Este-Gonzaga dated 8 March 1508 provides a
short description of the scene: "The subject was
beautiful...but what was best of all in these fes-

TECHNOLOGY
SUMMER

2007

Figure 3. Angelo Beolco's Betia



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2007

Contents
Theatre Design & Technology - Summer 2007 - 1
Theatre Design & Technology - Summer 2007 - 2
Theatre Design & Technology - Summer 2007 - 3
Theatre Design & Technology - Summer 2007 - Contents
Theatre Design & Technology - Summer 2007 - 5
Theatre Design & Technology - Summer 2007 - 6
Theatre Design & Technology - Summer 2007 - 7
Theatre Design & Technology - Summer 2007 - 8
Theatre Design & Technology - Summer 2007 - 9
Theatre Design & Technology - Summer 2007 - 10
Theatre Design & Technology - Summer 2007 - 11
Theatre Design & Technology - Summer 2007 - 12
Theatre Design & Technology - Summer 2007 - 13
Theatre Design & Technology - Summer 2007 - 14
Theatre Design & Technology - Summer 2007 - 15
Theatre Design & Technology - Summer 2007 - 16
Theatre Design & Technology - Summer 2007 - 17
Theatre Design & Technology - Summer 2007 - 18
Theatre Design & Technology - Summer 2007 - 19
Theatre Design & Technology - Summer 2007 - 20
Theatre Design & Technology - Summer 2007 - 21
Theatre Design & Technology - Summer 2007 - 22
Theatre Design & Technology - Summer 2007 - 23
Theatre Design & Technology - Summer 2007 - 24
Theatre Design & Technology - Summer 2007 - 25
Theatre Design & Technology - Summer 2007 - 26
Theatre Design & Technology - Summer 2007 - 27
Theatre Design & Technology - Summer 2007 - 28
Theatre Design & Technology - Summer 2007 - 29
Theatre Design & Technology - Summer 2007 - 30
Theatre Design & Technology - Summer 2007 - 31
Theatre Design & Technology - Summer 2007 - 32
Theatre Design & Technology - Summer 2007 - 33
Theatre Design & Technology - Summer 2007 - 34
Theatre Design & Technology - Summer 2007 - 35
Theatre Design & Technology - Summer 2007 - 36
Theatre Design & Technology - Summer 2007 - 37
Theatre Design & Technology - Summer 2007 - 38
Theatre Design & Technology - Summer 2007 - 39
Theatre Design & Technology - Summer 2007 - 40
Theatre Design & Technology - Summer 2007 - 41
Theatre Design & Technology - Summer 2007 - 42
Theatre Design & Technology - Summer 2007 - 43
Theatre Design & Technology - Summer 2007 - 44
Theatre Design & Technology - Summer 2007 - 45
Theatre Design & Technology - Summer 2007 - 46
Theatre Design & Technology - Summer 2007 - 47
Theatre Design & Technology - Summer 2007 - 48
Theatre Design & Technology - Summer 2007 - 49
Theatre Design & Technology - Summer 2007 - 50
Theatre Design & Technology - Summer 2007 - 51
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Theatre Design & Technology - Summer 2007 - 53
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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
https://www.nxtbookmedia.com