Download e-book for kindle: Architecture, Actor and Audience (Theatre Concepts) by Iain Mackintosh

By Iain Mackintosh

ISBN-10: 0203359011

ISBN-13: 9780203359013

ISBN-10: 0203375777

ISBN-13: 9780203375778

ISBN-10: 0415031834

ISBN-13: 9780415031837

Realizing the theatre area on either the sensible and theoretical point is changing into more and more very important to humans operating in drama, in no matter what capability. Theatre structure is without doubt one of the most important elements of the theatrical adventure and one of many least mentioned or understood.
In Architecture, Actor and Audience waterproof coat explores the contribution the layout of a theatre could make to the theatrical adventure, and examines the flaws of many sleek theatres which regardless of full of life defence from the architectural institution stay unpopular with either audiences and theatre humans. a desirable and provocative booklet.

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Extra info for Architecture, Actor and Audience (Theatre Concepts)

Sample text

As early as 1914 Geddes started publishing breathtakingly beautiful but insanely impractical designs for theatres. To the theatre historian, it is fascinating to see how a scene designer can propose superficially seductive architectural designs which, had they been built, would have failed and would have reduced his reputation. However, precisely because none of them ever was built, yet they were everlastingly reproduced, the Bel Geddes theatres became the theatrical equivalent HISTORY 47 of Corbusier’s high-rise La Ville Radieuse, the inspiration of a hundred third-rate imitations.

The small highly focused playhouse, the continuity of which has been proposed from Shakespeare to the present day, depended as much on the vertical emphasis of the column as on the horizontal line of the balconies. Timber post or iron column held up beams. The beam’s span was limited if it was to hold tier upon tier of people safely. With iron columns a modest amount of cantilevering was possible. This had the effect of pulling the columns back from the leading edge of the tier, obviously improving sightlines for the front one or two rows of galleries which continued to be shallow for structural reasons.

This was the steel cantilever. The small highly focused playhouse, the continuity of which has been proposed from Shakespeare to the present day, depended as much on the vertical emphasis of the column as on the horizontal line of the balconies. Timber post or iron column held up beams. The beam’s span was limited if it was to hold tier upon tier of people safely. With iron columns a modest amount of cantilevering was possible. This had the effect of pulling the columns back from the leading edge of the tier, obviously improving sightlines for the front one or two rows of galleries which continued to be shallow for structural reasons.

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Architecture, Actor and Audience (Theatre Concepts) by Iain Mackintosh


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