Theatre Design & Technology - Summer 2007 - 49

below to call forth characters exiting from hell."
During the intermission between Acts III and
IV the scene changed by means of periaktoi on
which it was mounted, and "according to plan
turned to reveal some of the most beautiful villas and gardens from the most delightful Architecture."
The work of Lanci and Vasari move the
development of the perspective stage into the
next phase, mutable scenery represented by
Sabbattini,29 whose work appears in the next
century. In the process, it is seen to have been
complex in the use of perspective as an

integrated, unified space for performance.
Peruzzi's La Calandria probably was a
model (possibly the model) for the Serlian
stage and remains the single example of its type,
aside from Serlio himself, in Italy. For whatever
influence Serlio's De Architettura (1545) may
have had abroad,30 evidence of it having been
influential in Italy is wanting.
Peruzzi's I Bacchidi is a model (perhaps
the model) for the fully integrated perspective
stage. The vista is also a performance space
and not just a decorative perspective. The lower
forestage, surrounded by the upper forestage,

provides a large performance area for the intermezzi. All these are performance areas, unified
by a single perspective schema of the stage.
These elements were further integrated
into a single perspective performance area that
was also localized in its visual aspect and set in
a frame as if it were a moving picture. Mutable
scenery added the next dimension along with
special effects31 to add to the visual display of
the "moving picture." ❖
Tom Ault regularly contributes to TD&T on
matters of antiquity. He is a Fulbright and
Smithsonian scholar, currently teaching at
Indiana University of Pennsylvania.

End Notes
1. Julius Pomponius Laetus (1425-1498), born
Giuglio Pomponio Leto, revived classical humanist drama in Rome with his Latin recitazzione.
His Roman Academy flourished around the last
three decades of the fifteenth century. It opened
with a performance of Seneca's Hippolytus in
1486. Cf. (Nicoll 1966, 81)
2. Located in the Biblioteca Marciana in
Venice, ms 6370 (cod. It. Cl.XI n. 66).
3. No theatre like this was ever built. There
are many examples of booth stages that were
used.
4. The fi rst, stage-right, is the device of the
powerful Della Rovere family who probably
sponsored the play. This strongly indicates
that the drawing actually represents a performance of the play performed in Rome under
Pomponio Leto's Academia.
5. Prospero, 1508.
6. Pellegrino da Udine (also Martino da
Udine or Pellegrin da San Daniele) was an
Italian painter (b. Udine 1476, d. 23 December 1547) whose work remains controversial.
It is alleged by some that his work for La Cassaria consisted of a single backdrop, only. I
consider this to be a very narrow interpretation
of Prospero's letter. Cfr. (Pallen 1999, 22).
7. Located in the Biblioteca Ariostea in Ferrara.
8. Illustration from (D'Amico 1958, V.2,
p.33).
9. Text: Bella foris ludosque domi exercebat et ipse Caesar.

THEATRE

48

DESIGN

&

TECHNOLOGY
SUMMER

2007



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

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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
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