22 The Seeing PlaceThe Seeing Place

Designed by Michael RasburyResources used:Barranger, Milly. Theatre- A Way of Seeing.

5th edition. Chapter 2, Thomson Learning, Inc., 2002.

Brockett, Oscar G. History of the Theatre. 8th ed. Boston, MA: Allyn & Bacon, 1999.

Leacroft, Richard and Helen. Theatre and Playhouse. Methuen London, Ltd, 1984.

Great Architecture of the World.Mitchell Beazley Publishers Limited, 1982

Designed by Michael RasburyResources used:Barranger, Milly. Theatre- A Way of Seeing.

5th edition. Chapter 2, Thomson Learning, Inc., 2002.

Brockett, Oscar G. History of the Theatre. 8th ed. Boston, MA: Allyn & Bacon, 1999.

Leacroft, Richard and Helen. Theatre and Playhouse. Methuen London, Ltd, 1984.

Great Architecture of the World.Mitchell Beazley Publishers Limited, 1982

photo by Melissa Byrdphoto by Melissa Byrd

Agrarian and Fertility Rites-

Early cultures tried to find ways to appease the seemingly supernatural or godlike forces that controlled the food supply.

Stories began to grow out of the "performance" of the ritual to explain why the ritual was important.

Agrarian and Fertility Rites-

Early cultures tried to find ways to appease the seemingly supernatural or godlike forces that controlled the food supply.

Stories began to grow out of the "performance" of the ritual to explain why the ritual was important.

Ritual and Theatre The Evolution of Actor-Audience Relationship

As humanistic thought and knowledge developed, rituals became less important for ensuring food and fertility for the society.

As humanistic thought and knowledge developed, rituals became less important for ensuring food and fertility for the society.

Like modern Theatre, these rituals contained enactment, imitation and seasonal performances

Like modern Theatre, these rituals contained enactment, imitation and seasonal performances

Entertainment is a bonus for the ritual audience; the goal is to gain prosperity from the gods. Modern Theatre must entertain.Entertainment is a bonus for the ritual audience; the goal is to gain prosperity from the gods. Modern Theatre must entertain.

Actors now create fictional characters.Actors now create fictional characters.

Ritual Performance differs from Modern Theatre in several ways:

Ritual and Theatre employ some of the same characteristics:

Actors use the playwrights words to create a sense of life and place.Actors use the playwrights words to create a sense of life and place.Modern Theatre tends to provoke thought rather than provide concrete answers.Modern Theatre tends to provoke thought rather than provide concrete answers.

Music- early ritual used rhythmical music.Dance- ritual incorporated pantomimic dance.Speech- vocal sounds were used more than formal speech.Masks- many felt that masks had the ability to attract the spirit of the character.

Music- early ritual used rhythmical music.Dance- ritual incorporated pantomimic dance.Speech- vocal sounds were used more than formal speech.Masks- many felt that masks had the ability to attract the spirit of the character.

Costumes- costumes were looked upon the same way masks were.Performers- ritual enforced highly trained actors that did not

change the ritual.Audience- spectators came to watch the ritual.Stage- most spaces were circular but not all were.

Costumes- costumes were looked upon the same way masks were.Performers- ritual enforced highly trained actors that did not

change the ritual.Audience- spectators came to watch the ritual.Stage- most spaces were circular but not all were.

The Evolution of the Early

Theatrical Space

From Religious Ceremony to Performance

Theater was first officially recognized in 534 B.C. when the Athenian Government began to subsidize drama.

Some of the first accounts of Greek Drama are documented by the Greek philosopher Aristotle in his book Poetics.

Theater was first officially recognized in 534 B.C. when the Athenian Government began to subsidize drama.

Some of the first accounts of Greek Drama are documented by the Greek philosopher Aristotle in his book Poetics.

A dithyramb is a hymn that was sung and danced for the god of wine and fertility.

Worship of Dionysus was achieved through intoxication, sexual orgy and sacrificial offerings- sometimes human.

The Greeks created the first permanent theatre structure called “Theatre of Dionysus” in honor the fertility god. It is located in Athens.

A dithyramb is a hymn that was sung and danced for the god of wine and fertility.

Worship of Dionysus was achieved through intoxication, sexual orgy and sacrificial offerings- sometimes human.

The Greeks created the first permanent theatre structure called “Theatre of Dionysus” in honor the fertility god. It is located in Athens.

The Beginning of Modern Theatre

The Greek Outdoor AmphitheatreThe Greek Outdoor Amphitheatre

Two major performance areas-Two major performance areas-

The Orchestra or “Dancing Circle”served as the primary acting area

The Orchestra or “Dancing Circle”served as the primary acting area

The Skene (scene building)- consisted of a building behind the

orchestra probably used as a dressing room, later to be

integrated into the stage action by an innovative playwright.

The Skene (scene building)- consisted of a building behind the

orchestra probably used as a dressing room, later to be

integrated into the stage action by an innovative playwright.

Greek Scenic DevicesGreek Scenic Devices

Periaktoi- a revolving triangular devices with one scene painted on each side.

Periaktoi- a revolving triangular devices with one scene painted on each side.

Tunnel from behind the Skene to the center of the stage.

Scenic wagonsrevealed through doors on the Skene.

Pinakespainted panels that could be attached to the skene.

Tunnel from behind the Skene to the center of the stage.

Scenic wagonsrevealed through doors on the Skene.

Pinakespainted panels that could be attached to the skene.

The Machina- a crane that was used to

represent characters who were flying or lifted

off of the earth.

The Machina- a crane that was used to

represent characters who were flying or lifted

off of the earth.

Deus ex Machina- “God From the Machine”

Deus ex Machina- “God From the Machine”

The chorus was dominant because there was usually one actor and that actor had to leave the stage several times during a show to change characters.

The chorus was to be a representation of society, they often served as the “ideal spectator” by providing advice, opinions, questions to the audience and actors.

The main actor(s) stood apart in the performance space because they typically played heroic figure that would realistically be separated from normal mortal beings.

Their costumes and masks added spectacle and their movement and dance heightened the dramatic effect.

Great actors were characterized by their voice quality and the ability to adopt their manner of speaking to the character.

The chorus was dominant because there was usually one actor and that actor had to leave the stage several times during a show to change characters.

The chorus was to be a representation of society, they often served as the “ideal spectator” by providing advice, opinions, questions to the audience and actors.

The main actor(s) stood apart in the performance space because they typically played heroic figure that would realistically be separated from normal mortal beings.

Their costumes and masks added spectacle and their movement and dance heightened the dramatic effect.

Great actors were characterized by their voice quality and the ability to adopt their manner of speaking to the character.

The Greek Chorus

A facade stage- actors performed in front of a

neutral background

Relationship with religion- plays were

presented as part of a larger celebration

Special Occasion- theatre was held on

special occasions and not often enough to be

taken for granted.

Noncommercial environment- the

wealthy citizens or the state picked up the costs as part of the

obligation of citizenship.

Male-only performers- women sat in the

audience only.

A facade stage- actors performed in front of a

neutral background

Relationship with religion- plays were

presented as part of a larger celebration

Special Occasion- theatre was held on

special occasions and not often enough to be

taken for granted.

Noncommercial environment- the

wealthy citizens or the state picked up the costs as part of the

obligation of citizenship.

Male-only performers- women sat in the

audience only.

Greek and Roman Theatre share the following elements:Greek and Roman Theatre share the following elements:

The Liturgical Didactic Drama celebrated the birth of Christ in the Springtime.The Liturgical Didactic Drama celebrated the birth of Christ in the Springtime.

Medieval Theatre

Types of Liturgical Didactic Drama-

1. Mysteries- dealt with events in Christ’s life2. Miracles- dealt with the lives of historical and legendary saints3. Moralities- didactic allegories portraying human struggle for salvation.

Types of Liturgical Didactic Drama-

1. Mysteries- dealt with events in Christ’s life2. Miracles- dealt with the lives of historical and legendary saints3. Moralities- didactic allegories portraying human struggle for salvation.

Medieval Theatre was emblematic and simultaneous.

-Spectators were familiar with symbolism.-Medieval Theatre was often presented as a group or cycle of several “playlets.”and usually presented simultaneously on different stages.

Medieval Theatre was emblematic and simultaneous.

-Spectators were familiar with symbolism.-Medieval Theatre was often presented as a group or cycle of several “playlets.”and usually presented simultaneously on different stages.

Medieval Theatre began as part of Easter celebrations held within churches.

Church leaders presented tropes- church dramas in the form of chanted dialogue performed by Latin priests.

Gradually performances outgrew the church and moved outside into marketplaces, replacing the priest with lay performers.

Town councils sponsored the productions, produced by trade guilds and casted with recruited actors from the local population.

Medieval Theatre began as part of Easter celebrations held within churches.

Church leaders presented tropes- church dramas in the form of chanted dialogue performed by Latin priests.

Gradually performances outgrew the church and moved outside into marketplaces, replacing the priest with lay performers.

Town councils sponsored the productions, produced by trade guilds and casted with recruited actors from the local population.

Medieval Theatre Development

The outdoor dramas differed from the indoor ones.

1. Plays presented outdoors were spoken.2. Plays were in the vernacular instead of Latin3. Laymen were actors instead of priests and clerics4. Stories were not wholly limited to the liturgy5. Outdoor dramas were limited to “good weather”

months.

The outdoor dramas differed from the indoor ones.

1. Plays presented outdoors were spoken.2. Plays were in the vernacular instead of Latin3. Laymen were actors instead of priests and clerics4. Stories were not wholly limited to the liturgy5. Outdoor dramas were limited to “good weather”

months.

Medieval Staging

Medieval stages were either “fixed” or

moveable.

Medieval stages were either “fixed” or

moveable.

Both types of stages made use of two

main areas:

Both types of stages made use of two

main areas:

Mansions- depicted specific locales

Mansions- depicted specific locales

Plateaus- open playing space

Plateaus- open playing space

The two most represented places on the Medieval stage were Heaven and Hell.

Heaven was usually constructed higher than the other mansions.

Hell was constructed lower than the other mansions and called “Hell Mouth.”

The Pageant Wagon(the moveable stage)

Portable stage, similar to a parade float

It had a “tiring house” for actors that also served as scenery.

The plays on Pageant Wagons were presented much like a modern parade is presented.

The Pageant Wagon(the moveable stage)

Portable stage, similar to a parade float

It had a “tiring house” for actors that also served as scenery.

The plays on Pageant Wagons were presented much like a modern parade is presented.

The Elizabethan Theatre

Permanent structures began to be built to house theatre that was becoming more commercial than ceremonial.

All theatres were built outside the city limits due to Puritan officials who felt theatre was sinful because of it’s secular subject matter.

The theatre building evolved from U-shaped inn yards where traveling troupes presented their shows, pageant wagons, etc.

The Globe was highly influenced by Medieval Theatre due to its many mansions.

Since elaborate scenery was prohibited by the theater structure, various properties suggested the locale.

For visual stimulation, costumes were relied upon instead of scenery.

There were no women in the Theatre at this time. Female roles were played by men and boys.

Permanent structures began to be built to house theatre that was becoming more commercial than ceremonial.

All theatres were built outside the city limits due to Puritan officials who felt theatre was sinful because of it’s secular subject matter.

The theatre building evolved from U-shaped inn yards where traveling troupes presented their shows, pageant wagons, etc.

The Globe was highly influenced by Medieval Theatre due to its many mansions.

Since elaborate scenery was prohibited by the theater structure, various properties suggested the locale.

For visual stimulation, costumes were relied upon instead of scenery.

There were no women in the Theatre at this time. Female roles were played by men and boys.

The Proscenium Theatre and Its Concealing Arch

Because the proscenium arch allowed the concealment of the conventions, artists could paint perspective scenery on large canvases placed on a raked stage, creating the illusion of vastness.

It was an architect from Italy that created a new system for changing scenery with movable two-dimensional wings painted in perspective. This method, created by Giambattista Aleotti, is now called a wing-in-groove system.

Because the proscenium arch allowed the concealment of the conventions, artists could paint perspective scenery on large canvases placed on a raked stage, creating the illusion of vastness.

It was an architect from Italy that created a new system for changing scenery with movable two-dimensional wings painted in perspective. This method, created by Giambattista Aleotti, is now called a wing-in-groove system.

Picture Frame Stage

The Thrust or Open Stage

The Arena Stage

The Black Box

The “picture-frame” stage is used to present “real-life” portrayed on stage through an imaginary “fourth wall.”

Seating is arranged around the stage much

like a stadium

Thrust stages are variations on the

“picture-frame” stage designed to minimize the separation between the

actor and audience.

The Black Box Theatre is flexible and can be

arranged in a variety of ways.

Four Most Prevalent Types of Theatres

Four Most Prevalent Types of Theatres

22 The Seeing PlaceThe Seeing Place

Designed by Michael RasburyResources used:Barranger, Milly. Theatre- A Way of Seeing.

5th edition. Chapter 2, Thomson Learning, Inc., 2002.

Brockett, Oscar G. History of the Theatre. 8th ed. Boston, MA: Allyn & Bacon, 1999.

Leacroft, Richard and Helen. Theatre and Playhouse. Methuen London, Ltd, 1984.

Great Architecture of the World.Mitchell Beazley Publishers Limited, 1982

Designed by Michael RasburyResources used:Barranger, Milly. Theatre- A Way of Seeing.

5th edition. Chapter 2, Thomson Learning, Inc., 2002.

Brockett, Oscar G. History of the Theatre. 8th ed. Boston, MA: Allyn & Bacon, 1999.

Leacroft, Richard and Helen. Theatre and Playhouse. Methuen London, Ltd, 1984.

Great Architecture of the World.Mitchell Beazley Publishers Limited, 1982