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Renaissance and Baroque Stage Technology and Its Meaning for Today's Theatre

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Renaissance and Baroque Stage Technology and Its Meaning for Today's Theatre Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1-1-2004 Renaissance and baroque stage technology and its meaning for today's theatre Stan Kubalcik Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Theatre and Performance Studies Commons Recommended Citation Kubalcik, S. (2004). Renaissance and baroque stage technology and its meaning for today's theatre. https://ro.ecu.edu.au/theses/792 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/792 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. RENAISSANCE AND BAROQUE STAGE TECHNOLOGY AND ITS MEANING FOR TODAY'S THEATRE by Stan Kubalcik A thesis submitted in partial fulfilment of the requirements for the degree ofMasters of Creative Arts Western Australian Academy of Performing Arts 16.December 2004 USE OF THESIS The Use of Thesis statement is not included in this version of the thesis. ABSTRACT This thesis seeks to address the understanding of the concept of old stage machinery. In addition, the research will determine the practical applications and meaning of old stage machinery for today's theatre. The approach to this topic will be more historical and practical than theoretical. A thorough examination of the history of theatre and stage technology is initially discussed. This is followed by an in-depth discussion of the practical component of this research and finally, the implications of this for today's theatre. Knowledge of traditional stage technology is a prerequisite for understanding the mechanics of stage technology today. A key finding from the research suggests that the ability for students and directors to have access to old machinery provides inspiration for future productions. More importantly, old machinery can provide students and directors with basic knowledge of the fundamental concepts involved with stage machinery, on which much of today's stage technology is based. STATEMENT OF ORIGINAL AUTHORSHIP I certify that this thesis does not, to the best of my knowledge and belief: (i) inco,porate without acknowledgement any matedal previously submitted for a degree or diploma in any institution of higher education; (ii) contain any material prcviou!.ly published or written by another person except where due reference is made in the text; or (iii) contain any defamatory material. Stan Kubalcik \5.4-.2oo5 ·... ~-- ACKNOWLEDGEMENTS I am writing this paragraph with lots of happiness, because by writing the acknowledgements that means my work is nearly finished. Acknowledgements are not written at the commencement of the thesis, when you're looking at blank pages, but towards the end. And let's face it, in the beginning, you have no one to thank anyway. Rather than having a few people to thank; you actually just have one person to blame. Yourself! But a~ you go along, you find out, that you don't want to be the only one to blame and start looking for others. Suddenly you realise that the pcopk around you are giving you a helping hand, lots of encouragement, 'lharing their knowledge with you and you need them in the same way you need, for example your books. They are a part of your research and in a sense it's their work as much as yours. Sometimes they provide kind words of encouragement, sometimes a piece of advice. All of these elements together have made this thesis possible and for that I am thankful. I truly appreciate all the help I have received, in whichever form it has come. First and foremost. to my family I want to say thank you for your support and patience -Jarka. Tomas, Petra and Stuart - Thank you very much! My colleagues and friends Chris Norman, Andy Cross. Andy King. Chris Murdoch, Peter Cowan, Louise Grimshaw. Mandy Lockyer and Janet Carter for their moral support and help. Thank you to Austin Bond for planting the seed in my head, to Dr. Maggie Philips for her guidance and kindness, to John Touissant for his practical advice, to Prof. Petr Matasek for his encouragement and to Prof. Petr Perina and Dr. Pavel Slavko for sharing their wisdom with me. Also, Professor Fabrizio Palla, I greal\y appreciate the ability to u.~e a sample of your photos within this research. Last, bul by all means not least, I would like to thank the students of the Western Australian Academy of Perfonning Arts for their inspiration. TABLE OF CONTENTS Chapler Topic Page No. I Introduction I 2 The Importance of Slage Technology 5 3 The Influence of Time on Stage Technology 8 3.1 Greek Thealres 9 3.2 Roman Theatres 16 3.3 The Middle Ages 22 3.4 The Renaissance and Baroque Eras 25 4 Raising lhe Curtain on the History of Stage Machinery 38 4.1 Scene Changes 43 4.1.1 Periactoi 43 4.1. J, I Sabbattini Periac1oi 44 4.1.1.2 Furttenbach Periactoi 47 4.1.2 Rear Closure 51 4.1.3 Flat Wing Changes 54 4.1.4 Border Changes 60 4.2 Flying MachinesiClouds 63 4.3 Wave/Sea Machines 67 4.4 Sound Effects 71 4.4.1 Thunder 71 4.4.1.1 Sabbattini 72 4.4.1.2 Furttenbach 72 4.4.1.3 Drottningholm (Sweden) 73 4.4.1.4 Versailles (France) 73 4.4.1.5 Cesky Krumlov (Czech Republic) 74 4.4.1.6 Oslankino (Russia) 74 4.4.1.7 Italy 75 4.4.1.8 Thundersheets 76 4.4.1.9 Drums 76 4.4.2 Wind 77 4.4.3 Rain 78 4.5 Traps 81 4.6 Stage Lighting 84 4.7 Revolving Stage 89 5 A Review of the Practical Component 91 \\ ,, 6 Conclusion : "j(· 98 h Reference Li.st Jj 100 Bibliography H 104 Appendix A De Architecturu Uhri Decem 107 Appendix B Discoveries and Inventions That Influenced Stage 111 Machinery \,, \ ii LIST OF ILLUSTRATIONS Diagram Topic Page No. No. 3.1 Theatre at Epidauros - Drawing based on the ruin~ of a 10 1 playhouse built in 4 h century B.C. 3.2 The layout of an ancient Greer. Theatre 11 J.J The Theatre of Dionysos at Athens - The inner circle shows 12 the position of the earlier orche.l'tra 3.4 Drawing of mecha11e IJ 3.5 Drawing of mechane 14 3.6 Acting area in Roman theatre, showing the lower story of the 15 front scene with wide, shallow stage 3.7 Roman Theatre - Drawing based on the ruins at Aspendos in 17 Asia Minor 3.8 Plan of the Marcellus TI1eatrc at Rome 18 3.9 Theatre of Marcellus, view from outside 19 3.10 Roman Theatre in Orange, France 20 3.11 Amphitheatre in Aries 21 3.12 An example of mansion~ in a Mystery play 23 3.13 Stage for Easter play, with a hellmouth ;;een in the 24 background to the right, Lucerne, 1583 3.14 Inside Teatro O!impico 26 3.15 Floor plan of Teatro Farnese 28 3.16 A raked stage JI 3.17 The Globe 33 4.1 The differing mechanics of the exostra and ekkyklema 39 4.2 Periacroi stage setting 43 4.3 The first method of scene change by Sabbattini 45 4.4 The second method of scene change by Sabbattini 46 4.5 The third method of scene change by Sabbattini 47 iii 4.6 A ground plan of Furttenbach's use of periactois 48 4.7 A ground plan of Furttcnbach's use of periactois 49 4.8 A ground plan of Furttenbach's use of periactois 50 4.9 Sabbattini's first method of opening the back shutter 51 4.10 Sabbattini's second method of opening the back 52 4.11 Sabbattini 's third method of opening the back shutter 53 4.12 Sabbattini's fourth method of opening the back shutter 54 4.13 A vertical shaft or capstan in Drottningholm Courth Theatre, 56 Sweden 4.14 Lower stage machinery at Drottningholm, Sweden - Capstan 56 controlling scene change 4.15 Sketch of scene changing system at Drouningholm Cou~ 57 Theatre. Sweden 4.16 Remains of the main shaft controlling scene changes at 58 Gripsholm. Sweden 4.17 Drawing of drums contro\ling the lower and upper machinery 59 at Gripsholm, Sweden 4.18 The main shaft under the stage controlling scene changes at 59 the Cesky Krum!ov Castle Theatre, Czech Republic 4.19 Plan of a control system of borders at Drottningholm Court 61 Theatre, Sweden 4.20 Upper stage machinery for controlling borders at 62 Drottningholm Court Theatre, Sweden 4.21 Upf)er stage machi1;ery for border control at Ludwigsburg 62 Castle Theatre, Germany 4.22 One of Sabbattini's methods of how to make a cloud descend 63 directly to the stage from the 'heavens' 4.23 Sabbattini's method of .:hanging the size and shape of clouds 64 4.24 Sabbattini 's method of making a cloud move across the stage 65 4.25 Drawing of fly system for diagonal flying 65 4.26 System for diagonal flying at Drottningholm Court TI1eatre, 67 Sweden 4.27 Sabbattini's first method of simulating a sea motion 68 iv 4.28 Sabbattini's second method of simulating a sea motion 69 4.29 Sabbattini's third method for waves, the wave columns
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