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Advances in Social Science, Education and Humanities Research, volume 144 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017) Between Ordine and Capriccio Gothic Architecture in the Theatre of the Enlightenment Anna Korndorf Department of Fine arts and architecture State Institute for Art Studies Moscow, Russia E-mail: [email protected] Abstract—The perception and rethinking of the “dark said of their links to real architecture in the succeeding years, Middle Ages” in the period of Enlightenment largely determined almost nothing is known of their previous history on the stage. the interpretation of the present, and expectations for the future. That was why the appearance of Gothic images and motifs on the By the middle of the eighteenth century European court theatre stage was not just another phase in the history of art and theatre had developed its own universal iconographic tradition architecture or a fad for the “Gothic taste”, but also a factor of that permitted, in a few strictly controlled instances, the use of political propaganda geared to public opinion and domestic and Gothic imagery and motifs. It might perhaps be curious to look foreign policies. What did the 18th-century theatre-goers and at them in the context of the symbolic function of Gothic taste stage decorators perceive as “Gothic”? How did the “settings”, within the world of real Enlightenment building practice. iconographic tradition and predilections of European playwrights and librettists change over the Age of Enlightenment? The few scholars of theatrical Gothic [1, 2, 3, 4] (if it can The article looks at these and other nuances of Gothic motifs’ truly be distinguished as a separate object of study) have not invasion of the ephemeral architecture of the theatre stage. The agreed on where its origins lie. In medieval open-air theatre, grand staging of Catherine the Great’s historical play The Early where the urban environment itself was both the location and Reign of Oleg, in which action takes place in the “Gothic the setting for improvised action. In the liturgical drama and Antiquity” of the Russian state, is a special theme that miracles played out inside or in front of Gothic churches. Or in graphically demonstrates the political underpinnings of recourse the first architectural treatises of the Renaissance and the to the national “Gothic”. A search for the iconographical decorative schemes of Leon Battista Alberti and Baldassare prototypes of the theatre images turns out to be no less Peruzzi. captivating than the ideologically charged reconstruction of historical memory. On closer inspection even the latter – the best argued theory – is revealed as no more than the expression of a natural Keywords—Theatre architecture; stage design; Gothic taste; survival of Gothic motifs amidst later architectural principles Age of Enlightenment; architectural theory; Francesco Gradizzi and tastes, thus relating to the phenomenon known in architectural history as just that, „Gothic survival‟. It was I. INTRODUCTION encapsulated in the first treatise on the principles of theatrical design, published by Sebastiano Serlio in 1545 [5, p.50]. Art historians rarely speak of the role of the theatre when considering the architecture of „Gothic taste‟. This is Amidst the canonical types of theatrical sets proposed by understandable, since „Gothic‟ operas and tragedies appeared Serlio the contrast between „high‟ and „low‟ scenes is so much later than Gothic novels and right up to the end of the particularly fascinating. Sets for tragedies were bound up with eighteenth century chivalric subjects and medieval chronicles a revival of interest in Classical culture and consisted of an were presented decked out in Classical forms. idealised town square framed by public buildings in the severe and „noble‟ style of contemporary Renaissance architecture, Yet there is reason to pause for thought. We know, for tectonically correct and classically balanced. Comic scenes, instance, that the first examples of Russian Gothic architecture however, were to reflect everyday realities, showing narrow were preceded by sets in Gothic taste for masques that late-medieval streets narrowing into the perspective depths, included decorative structures whose purpose was not only to with numerous stalls and low „Gothic‟ houses. entertain but to convey symbolic meanings. Providing the point of departure in St Petersburg – clearly a sign of „highest Serlio‟s treatise was incredibly influential. Its lessons were approval‟ of the new fashion – were „buildings in different felt in almost every theatrical project, from the Palladian architecture‟ erected on the road from St Petersburg to backdrops of Vincenzo Scamozzi for the Teatro Olimpico in Tsarskoe Selo for the festivities honouring the procession of Vicenza and at the Gonzagas‟ ducal palace at Sabbioneta to the Catherine II and Prince Henry of Prussia in October 1770. The early works of Bernardo Buontalenti and Giulio Parigi for the same role was played in Moscow by the famous backdrop for Medici of Florence. the Khodynka celebrations of 1775. Although much has been Yet the Gothic reminiscences that reappeared on stage more than a hundred years later, in the early eighteenth century, Copyright © 2017, the Authors. Published by Atlantis Press. This is an open access article under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/). 6 Advances in Social Science, Education and Humanities Research, volume 144 surely owed little to these roots. Their main difference from was markedly different from the eloquent costumed allegories Serlio‟s Gothic stamp lies in the aesthetic and philosophical of the imperial theatre, the principles behind these distance that sets Baroque theatrical architecture apart from rappresentazione of the Gospels narrative were closely related medieval building practice. That keen rejection and mockery to the grandiose court masques with their magnificent of Gothic which is felt on the pages of Giorgi Vasari‟s perspectival sets, while the same authors and performers were bestseller, of Gothic as a symbol of all that is low, coarse, responsible for the Viennese Sepolcro and for the birth of the tasteless, archaic, „dark‟ and barbarian, i.e. directly opposed to secular genre of opera seria1. Classical logic and simplicity, was softened in the powerful waves of Baroque ritorica grandezza that were whipped up Even so, the court theatre in the Hofburg in Vienna, before dissolving in the all-embracing universal polyphony of teeming with Ancient gods and heroes, and the individual national ancient histories from Latin America to Augustinerkirche where – after the Sermon on the Cross on Russia. Good Friday and the symbolic transference of the bread and wine of the Eucharist „to the Sepulchre‟ – the Holy Roman Seventeenth-century Jesuit intellectualism and antiquarian Emperor and his courtiers witnessed the replaying of Christ‟s erudition, which played their role in shaping the underlying road to Calvary, were not one and the same thing. principles of illusionistic set design over the following two On the court stage the theatrical architect erected head- centuries, created a new sense of space for such architectural fantasies. Giovannie Aleotti, Abbé Dubreuil, Giuseppe Viola- spinning perspectival squares and avenues, temples and Zanini, Nicolo Sabbatini and Andrea Pozzo, authors of the palaces, or interiors of no less cyclopean majesty, with little most authoritative treatises on constructing theatrical regard to the real architecture of the auditorium. His creative perspective [6, 7, 8, 9, 10], opened up the stage to everything outpourings were limited only by terse notes in the libretto, by ecstatically magnificent, whimsically capricious and excitingly the size of the stage itself, and of course by iconographical „strange‟. The invention of new architectural capricci within tradition which set out certain canons for particular settings. the Baroque compositional system of architectural orders The designing of spaces for the unfolding of the theatrum became a mark of the theatrical designer‟s and illusionistic set sacrum was inherently different. Here the main task was to painter‟s virtuosity. Therefore each time he sought some transform the interior of a Gothic chapel into the illusory characteristic device for his inventions – some monstrous architecture of the council-room of the Sanhedrin, of the zoomorphic decoration, a pointed arch or spiralling palace of Jerusalem‟s High Priest, Christ‟s prison or Calvary. „solomonic‟ columns – this was a conscious, deliberate choice, The only means available for creating such an optical illusion not merely homage to past tradition. was architectural trompe-l‟oeil, the virtuoso use of the scena per angolo effect, built up of intersecting axes, „invented‟ by Time was needed for „Gothic motifs‟ to acquire their own the Bibiena family2. Yet the mechanisms used to produce such consistent iconographical repertoire. Any attempt to identify optical entertainments – confusing the gaze and dimming the the early shoots of the Gothic must thus inevitably look to reason of the viewer who seeks in vain in the dim light of the formal rather than intellectual characteristics. First, a number chapel to understand the border between real and ephemeral of typical structural elements find their way into the illusory space – were the same as those used on stage [13, p. 212; 14, vision of ephemeral theatrical architecture: pointed arches and pp. 99–110].

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