Principles of Formation in Theatre Buildings and Performances

Between the Fifteenth and Seventeenth Centuries

Sultanova Muhayyo Fahriddin Qizi

, Tabibov Abduvoris Latifovich

Xalilov Ilxomjon Isroiljonovich

, Valijonov Toir Muhsinovich Isroiljonovich

and Abdukarimov Begali Abdualiyevich

MRDI, Tashkent, Uzbekistan

Keywords: Art, Synthesis, Church, Performance, Stage, Theology, Renaissance, Pageants, Platform, Props, Decoration.

Abstract: Performing art, which exists in many forms at the same time, requires a decent and large-scale, stereoscopic

scientific vision. On the one hand, performing arts is the diocese of artists, that is, the subject of study of art

theorists historians, critics, and philosophers. At the same time, it is known from the historical aspects of

performance art and theatre that its synthesis and elevation to the level of art is manifested in unity with its

architectural complex. Taking into account these historical aspects requires artistic, creative, cultural,

historical, social, and economic study of all aspects of the existence of cultural and educational structures.

1 INTRODUCTION

In contemporary times, there is a notable emphasis on

preserving and fostering national traditions in cultural

and educational performances, as well as in theatre

and cinema, not only worldwide but also in Asian

countries. This includes the transmission of a rich

historical and cultural heritage to present and future

generations. In the realm of theatre, the transition

from the enclosed space of the church not only altered

the conditions of play staging but also gave rise to

new genres.

During the Middle Ages and the Early

Renaissance, the emergence of theatrical societies,

such as the Gonfalone in Rome in 1265, marked a

significant development. These societies staged plays

with theological themes, particularly those based on

biblical narratives. The theatre evolved into a three-

story structure, representing heaven, earth, and hell.

The lower stage, depicting hell, remained unseen by

the audience, while the main action unfolded on the

second stage, symbolizing heaven. This setup

allowed for various technical effects, including the

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appearance and disappearance of actors, and the use

of puppets.

Throughout the medieval and early Renaissance

periods, theatrical scenography and audience spaces

were purpose-built and lacked a standardized form.

Amphitheatres were constructed in France, England,

and other regions, often utilizing Roman circus

arenas. The audience transitioned between stages,

facilitated by two-level "pageants" carts, which

served as both dressing rooms for actors and open

platforms for performances.

In England, pageants were predominantly

employed, and medieval divine spectacles utilized

three scenographic systems: the ring, frontal

(gazebo), and moving. The ring system involved a

high ring-shaped platform with movement occurring

on two levels. The frontal system, characterized by a

square shape with a porch, conveyed various settings

such as palaces, heaven, and purgatory. The moving

system consisted of carts carrying scenery for divine

episodes.

The historical evolution outlined above suggests

that stage scenography originated from these street

performances, laying the groundwork for its

1292

Qizi, S., Latifovich, T., Isroiljonovich, X., Isroiljonovich, V. and Abdualiyevich, A.

Principles of Formation in Theatre Buildings and Performances Between the Fifteenth and Seventeenth Centuries.

DOI: 10.5220/0012964900003882

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 2nd Pamir Transboundary Conference for Sustainable Societies (PAMIR-2 2023), pages 1292-1297

ISBN: 978-989-758-723-8

development. T. Akimova, in her doctoral

dissertation on the art history of late medieval times,

highlighted the societal significance of performing

arts during this era. By the mid-16th century, both the

church and royal authorities prohibited theological

plays, as they began to overshadow plays featuring

comedic and critical elements in theatre art. This shift

led to the emergence of Renaissance drama, marking

a transition from theological and religious themes to

a new genre of spectacle. While iconographic

material from medieval ecclesiastical and secular

spectacles may not be evident in architectural

monuments, their influence remained palpable,

nourishing Renaissance theatre and shaping

subsequent periods of stage art.

Table 1: Advantages and disadvantages of medieval theatre

art and stage technique.

Advantages of the

medieval theatre art and

sta

e techni

Disadvantages of medieval

theatre art and stage

techni

1 The theatre went out

from the church square

to the open space.

1 The scenography of

the stage did not have

a specially

constructed uniform

form.

2 Complex techniques

were used in the plot of

the play.

2 It was inconvenient

for the audience to

move from one scene

to another during the

erformance.

3 It was the reason for the

development of

scenography.

3 Only theological

plots have increased

in the theatre shows.

4 3 types of scenography

areas have appeared.

2 METHODS

Alongside the existence of church theatre, a distinct

genre emerges in the form of palace festivals,

conducted in both public squares and enclosed

spaces. One noteworthy example is the pheasant

festival organized by the dukes of Burgundy and

Cleves in Lille in 1454, marking the first use of a

curtained stage indoors. In contrast to liturgical

dramas where curtains covered distinct parts of the

stage simultaneously, this performance utilized a

single platform. The curtain served to isolate the stage

for the preparation of individual pantomime episodes,

challenging the exclusive reliance on the

simultaneous design principle for stage space. Palace

performances and theatre practices developed unique

artistic and technical methods. Advancements were

made in the art of crafting stage props and

decorations, while the mechanical equipment of stage

areas became more intricate. Towards the close of the

16th century, an experimental revolving field stage

was introduced. The involvement of artists in

performance design contributed to the evolution of

scenic scenery.

The origin of the box scene is rooted in this

period. Information on the structure of Renaissance

and early Baroque theatres is limited and often

contradictory, as the buildings were predominantly

wooden and susceptible to rapid decay or destruction

by fire.

Records about theatre construction and

performances date back to the late 15th century.

However, theatrical shows during this period lacked

systematic organization and were primarily

associated with palace festivities. Stage equipment

and audience seating were typically arranged in one

of the halls of a ducal castle or a lavish palace

courtyard.

The architecture of theatres during this era was

shaped by a dual influence – the ancient theatre on

one hand and the practice of staging religious plays

on the other. Subsequently, the amphitheatre's form

proved to be a practical solution, with the positioning

of noble seats above others around the stage emerging

as the primary system. Similar to ancient theatres, the

seats for princely members were centrally located at

a certain height on the orchestra. The steps of the

amphitheatre, where court members and guests sat,

surrounded the steps of the princely chairs with

distinctive bends.

3 RESULTS

The architect and painter Sebastian Serlio (1457-

1552) provided a comprehensive description of the

Italian theatre stage, its lighting, and the principles of

theatrical perspective in his treatise "On

Architecture," published in 1545. In this work, Serlio

synthesized the experiences of Renaissance theatre

practitioners and established fundamental rules for

constructing the stage and shaping the external

appearance of the play. According to Serlio's

illustrations and descriptions, the amphitheatre had

fourteen steps of uniform width, with the fifteenth and

final step being larger than the others. The

semicircular design of the amphitheatre mirrored the

shape of the orchestra in a Roman theatre, forming a

circular enclosure around it. The first row of seats,

situated at the orchestra level, comprised chairs for

Principles of Formation in Theatre Buildings and Performances Between the Fifteenth and Seventeenth Centuries

1293

the highest nobility, while above, on the amphitheatre

steps, seats were allocated for noble ladies and

gentlemen. The highest and widest section was

designated for palace servants. Thus, the customary

principle of class-based seat distribution in the

audience was already evident in Renaissance theatres.

The semicircular platform of the orchestra served

not only as a nod to ancient traditions but also as an

attempt to separate the stage from the audience to

achieve a more profound artistic impact. Sebastian

Serlio delineates three types of scenes in his works -

tragic, comic, and satirical. Consequently, the

embellishment of Renaissance theatrical

performances adhered to the principle of decoration

immutability, determined solely by the genre of the

production.

A noteworthy contribution to the history of Italian

Renaissance theatre is the Teatro Olimpico in

Vicenza, often regarded as an academic theatre

replicating the model of Roman theatre architecture

within a building. The first theatre building,

constructed from stone and still extant, stands as an

exemplary instance of theatre architecture seamlessly

integrating the visual aspects of the hall and stage.

The elliptical amphitheatre, in alignment with the

plan, is proximate to the portal wall of the stage,

leaving a small space for the orchestra in the middle

of the hall. The stage itself is a rectangular open area,

bordered on three sides by lavishly adorned palace-

type walls. The central wall features three arches,

behind which decorations are placed on the curved

part of the stage.

The side walls incorporate low entrances

connecting the open stage with backstage rooms. In

essence, the composition mirrors that of the Roman

theatre, maintaining three classical exits in the centre

and two side exits corresponding to the Greek theatre

structure. This theatre complex marks the conclusion

of the Renaissance era, undergoing significant

transformations influenced by the evolving Baroque

theatre towards the close of the 16th century.

4 DISCUSSION

The evolution of dynamic scenic views in theatre

during the 17th century was driven by the changing

demands of stage arrangements and the principles

governing the external presentation of performances.

This transformative period in theatre history

witnessed a confluence of innovations in both stage

technique and architectural design, setting the stage

for the continued evolution of the modern theatrical

landscape.

The Shifting Landscape of Stage Décor: The

impetus for these changes came from the staging of

interludes and the development of opera and ballet.

These emerging art forms demanded visually

stunning displays rich in various stage effects and

frequent changes of scenery. The traditional stage

decor, influenced by Renaissance landscapes,

underwent a shift in the early 17th century to

accommodate these new requirements.

In this period, stage decoration retained some

features of Renaissance landscapes, with built houses

in the foreground representing permanent decorative

portals. A luxurious curtain, resembling a modern

harlequin made of precious fabrics or adorned with

golden ribbons, concealed the "heavenly vault"

behind it. However, these portal settings posed

challenges as they occupied a significant portion of

the stage, hindering actor exits in the foreground.

To address these challenges and facilitate the

necessary changes, Sabbatini suggested elevating

portal scenery to a central role, transforming it into an

architectural portal that separated the audience from

the stage area. This innovation allowed for moving

the scene into the depth of the stage, enhancing the

illusionary nature of the design, and facilitating the

use of moving scenery.

The pursuit of means to change scenery led to a

departure from the perspective of relief, focusing

instead on beauty. Early experiments in landscape

modification identified three main methods. The first

involved concealing the set scene with a beautiful

backdrop painted with trees, houses, and other

elements. The second method employed solid, draw-

able landscapes with moving scenic frames placed in

front of permanent walls. The third method utilized

Telari, or periacts, triangular prisms covered with

various images, which, when rotated, facilitated scene

changes twice by revealing different faces.

The Emergence of the Classic Stage-Box Type: By

the end of the first quarter of the 17th century, the

Italian stage had adopted the classic stage-box type,

characterized by a portal arch sharply defining the

stage and audience areas. A curtain behind the portal

would only appear at the beginning and end of the

performance. In front of the stage, separated by an

empty barrier, a pit in the first row, akin to the

prototype of the orchestra pit, provided depth to

enhance the illusion.

To meet the increasing demands of opera

performances, which required a higher number of

instantaneous scene changes and vibrant scenic sets,

the backstage decoration technique was introduced in

the 1620s. This innovation marked a new stage design

PAMIR-2 2023 - The Second Pamir Transboundary Conference for Sustainable Societies- | PAMIR

1294

system in the backstage scene and led to the

development of a specialized stage technique.

Attributed to the Italian artist Buonalenti, the

backstage system was first implemented in the

Farnese Theatre in Parma, becoming the first theatre

equipped with stationary backstage equipment. The

horseshoe-shaped amphitheatre within this theatre

had an elliptical plan, creating an enclosed area in the

middle of the hall for water extravaganzas.

In the 17th century, theatrical advancements

focused on opera, leading to the development of a

tiered theatre system. English theatres, such as the

Globe Theatre, served as prototypes for tiered

theatres in the 18th and 19th centuries. The tiered

system, featuring open balconies on multiple floors,

aimed to accommodate different social classes and

families in separate boxes-lodges.

The Teatro San Cassiano - Pioneering Public

Opera: The Teatro San Cassiano in Venice, erected

in 1639, stands as a pivotal milestone in the evolution

of theatre architecture, being hailed as the first public

opera house. This marked a profound shift in the

accessibility of theatrical performances, reflecting the

burgeoning significance of theatre in public life

during the 17th century. The innovative tiered theatre

system implemented in venues like San Cassiano,

featuring separate lodges for families, addressed

logistical challenges by obviating the need for

expansive foyers and cloisters, streamlining the

audience experience.

The transformative impact of the 17th century on

theatre extended beyond architectural considerations

to encompass fundamental changes in stage technique.

The emergence of public theatres from the late 16th

century introduced new imperatives for audience

placement and spatial dynamics within performance

venues. Folk theatres, exemplified by London's iconic

Globe Theatre, laid the groundwork for the subsequent

evolution of tiered theatre structures that would

characterize the centuries to come.

A Fusion of Classical Elements: Central to this

evolution was the development of classical multi-

level theatres, amalgamating elements from ancient

Greek orchestras, medieval storied halls, and the

distinctive baroque-style stage boxes. This tiered

system sought to achieve a dual purpose – ensuring a

clear hierarchy in audience distribution based on

social class while maximizing seating capacity within

confined spatial constraints. The tiered configuration

became a defining feature of theatre architecture,

shaping the immersive experience for spectators and

influencing the design of theatres for generations.

The Teatro San Cassiano - Aesthetic and Acoustic

Excellence: The Teatro San Cassiano, a noteworthy

exemplar of this trend, manifested the Italian curve in

its auditorium design. Constructed in 1776, this

theatre prioritized impeccable acoustics, particularly

tailored for the performance of operas. The expansive

opening of the portal, coupled with integrated lodges

within the walls, contributed to the exceptional

acoustic qualities of the space. Italian architects, in

their pursuit of a harmonious blend of acoustics and

practicality, left an indelible mark on theatre interiors.

In contrast, French architects of the period

pursued a different aesthetic agenda, emphasizing

grandeur and opulence in front rooms designated for

the masses. This divergence in stylistic preferences

underscored the diverse approaches taken by

architects across Europe in response to the evolving

needs and expectations of theatre-goers.

The 17th century thus emerged as a

transformative era in theatre history, witnessing a

confluence of innovations in both stage technique and

architectural design. The tiered theatre system, born

out of a necessity to efficiently accommodate

audiences of varying social strata, became a hallmark

of subsequent theatre structures. The Teatro San

Cassiano and its counterparts across Europe

embodied a fusion of functionality and artistic vision,

setting the stage for the continued evolution of the

modern theatrical landscape.

Table 2: Architects who contributed to the development of

Renaissance theatre architecture and stage scenography.

SEBASTY

SERLIO

Architect

and painter

pamphlet

"About

Architectu

re".

1545 year

The most

complete

description of the

scene of the

Italian theatre, its

lighting and the

principles of the

theatre.

LORENZO

SABATINI

Italian

mannerist

painter of

the 16th

century.

He lived

and

created in

the years

1530-

1576

An architectural

portal that

separates the

audience from the

stage area,

becoming the

capital decoration

of the sta

BERNARD

BUONTAL

ENTI

Florentine

Mannerist,

painter,

sculptor,

theatre

decorator

and stage

designer, as

well as

Perfected

invention and

revival of the

Telari technique.

Principles of Formation in Theatre Buildings and Performances Between the Fifteenth and Seventeenth Centuries

1295

military

fortification

engineer,

hydraulic

engineer,

invento

JOVANNI

BATISTO

ALEOTTIN

Italian

architect,

military

engineer,

hydrologist,

baroque

theatre

decorator.

He lived

and

created in

the years

1546-

1636.

There are many

grounds that the

Duke of Farnese

in Parma, where

behind-the-scenes

techniques were

used, was the

theatre

uilder.

VIKTOR

LUI

Architect

and painter

Theatre in

the city of

Bordeaux

in 1780

Invented the

possibility of

vertical change of

the stage space.

5 CONCLUSION

Theatre buildings' halls, regardless of their size or

development, typically serve as the experimental

foundation of the theatre, acting as the primary space

for a variety of genre performances, impromptu

shows, and the continual search for innovative stage

designs. If we consider the halls as a unified space

without distinct boundaries between the auditorium

and the stage, it would be ideal for organizing any of

the aforementioned types of theatrical scenes.

Various systems designed to modify the hall's layout

are employed to achieve this.

While acknowledging its independent spiritual

significance, the theatre hall is intricately linked to

scenography and stage design, forming an inseparable

connection with architectural creations. The theatre,

being dependent on other art forms and the economy,

not only shapes the building itself but also its

interiors, providing ample grounds for the spiritual

and economic expression of these theatrical

structures. A prominent illustration of this symbiosis

is that, akin to other art forms, theatre reflects the

spirit of its time, the human milieu, social constructs,

and the societal requirements.

Figure 1: Achievements of Renaissance theatre.

Throughout the developmental history of the

stage, masters of their crafts, including artists,

technologists, directors, architects, and various

specialists, have consistently endeavoured to reshape

the configuration of theatre spaces. At each juncture

in historical development, innovative proposals

emerge, often breaking away from established

traditions and providing a fresh perspective on stage

and hall architecture. The architecture of

contemporary theatres is the culmination of the

arduous journey of theatre evolution over the

extensive and systematic development of theatrical

art.

In contrast to the initial theatre constructions, the

distinctiveness of the new theatres conceived during

the Renaissance extends beyond mere architectural

composition. It involves the integration of theatre art

with nature, the introduction of novel building

structures, the arrangement of buildings, and the

capacity of the auditoriums. Essentially, the

construction of theatre spaces and the evolution of

typological structures have created conditions

conducive to diverse compositional schemes. This

evolution has been marked by the formulation and

advancement of key architectural objectives. Varied

urban planning conditions, typological foundations,

and the unique characteristics of individual theatres

have given rise to new entities that diverge

significantly in structure, style, and artistic

expression.

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