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Xerox University Microfilms 900 North ZMb Road Ann Arbor. Michigan 48100 76-18,012 MOHLER, Franklin Calvin, II, 1937- SPECTACULAR EFFECTS ON THE SEVENTEENTH CENTURY CONTINENTAL STAGE. The Ohio State University, Ph.D., 1976 Theater Xerox University Microfilms, Ann Arbor, Michigan 48106 (2) Copyright by Franklin Calvin Mohler II 1976 SPECTACULAR EFFECTS ON THE SEVENTEENTH CENTURY CONTINENTAL STAGE DISSERTATION Presented in Partial Fulfillment of the Requirements of the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Franklin Calvin Mohler XI, B. A., M. A. ***** The Ohio State University 1976 Reading Committee i Alan L. Hoods Roy H. Bowen Russell Hastings Advisor Department of Theatre ACKNOWLEDGEMENTS The author wishes to acknowledge! with deepest gratitude! the assistance! suggestions and guidance of the following personst all of whom were instrumental in the completion of the studyt Dr. John H. McDowellf who inspired this study and arranged for many of the documents necessary for its completion. Dr. Alan.L..Woods, who took over the advisement of this study. The staff of The Ohio State University Theatre Research Institute and the librarians of the various institutions holding the manuscripts used in this study. My parents and my in-laws! whose.encouragement was instrumental in the completion of the study. My wifer whose help and comments have contributed to this study in many ways. ii VITA March 21, 1937 Born - Des Moines, Iowa 1965 B. A., The Ohio State University, Columbus, Ohio. 1965-1968 Production Assistant, Department of Theatre, The Ohio State University, Columbus, Ohio 1968 M. A . , The Ohio State University, Columbus, Ohio 1968-1969 GLCA Teaching Associate, Denison University, Granville, Ohio 1969-1970 GLCA Fellowship, The Ohio State University, Columbus, Ohio 1970-1975 Assistant Professor, Department of Theatre, University of South Carolina Columbia, South Carolina 1975- Acting Assistant Professor, Depart­ ment of Drama, University of Virginia Charlottesville, Virginia PUBLICATIONS "An Analysis of the Plans for the Theatre in the Seminary of the Collegio Romano." The Ohio State University Theatre Collection Bulletin, No. 16, 1969, pp. 39-53. "Architectural Observations of the Theatre in the Collegio Romano and the Seminario Romano," The Ohio State University Theatre Collection Bulletin, No. 16, 1969, pp. 54-64. FIELDS OF STUDY Major Field: Theatre Studies in Theatre History. Professor John H. McDowell ill Studies in Dramatic Literature and Criticism. Professor John C. Morrow Studies in Theatrical Design. Professors Jerry R. Emery and Joy Apanabel iv TABLE OF CONTENTS Page acknowledgements ........................................ u VITA ................................................... ill LIST OF TABLES............................. vil LIST OF F I G U R E S ........................................ viii CHAPTER I. INTRODUCTION ................................ 1 A Review of the Literature................. 2 The Specific Alma of the S t u d y ............. 9 The Limitations of the S t u d y ............... 9 The Nature of the E v i d e n c e ................. 10 Procedures................................ 14 II. THE ILLUSIONISTIC STAGE....................... IB The Perspective Vista ....................... 20 The Changeable S e t t i n g ..................... 2A The Stage House . ,....................... 53 Summary................................ 56 III. WATER EFFECTS................................ 58 Seas, Harbors, Inlets, Etc. .......... 60 R i v e r s .................................... 83 Fountains and Waterfalls ................... 86 Fish and Monsters........... 90 Boat E f f e c t s .............................. 103 Sea Chariots and Other Water Vehicles ........ 113 Summary.................................... 121 IV. EFFECTS FROM BELOW THE S T A G E ................. 123 . Trap Opening D e v i c e s ....................... 127 Machinery for Raising Profile Units .......... 134 Elevator Machinery ......................... 143 Machinery to Expand Objects ................. 151 Summary........................ 155 v CHAPTER V. EFFECTS FROM ABOVE THE STAGE .................. 157 Simple Cloud Effects ........................ 159 Sky Chariots, Clouds, Etc. with Performers . 1K4 Celestial Effects ........................... 216 S u m m a r y ..................................... 255 VI. CONCLUSION...................................... 260 Slgniflgant Developments on the Illusionlstic S t a g e ......... 260 The Legacy of the Seventeenth Century Mechanized S t a g e ....................................... 263 Suggestions for Further Studies 263 APPENDIX A ................... 265 BIBLIOGRAPHY ............................................. 271 vi LIST OF TABLES Table Page 1. Comparison of Horizontal Perspective Angles .... 27 2. Frequency of Water Effects ..... ........... 61 3. Frequency of Effects from Below the Stage..... 124 4. Frequency of Effects from Above the Stage ....... 160 vii LIST OF FIGURES Figure Page X. Serlio's Perspective Vista ..................... 21 2 . Serlio's Groundplan and Section ................ 24 3. Comparison of Vanishing Point Locations .......... 25 4. Sabbattini's First Method of Changing Side Wing Units ................................... 30 5. Sabbattini's Second Method of Changing Side Wing Units ................................... 31 6 . Vignola's and Dubreuil's Periactoi .............. 33 7. Furttenbach's Periactoi# Plan View .............. 34 8 . Furttenbach's Periactoi# Section V i e w ............ 35 9. Sabbattini's Periactoi ......................... 37 1 0 . Groundplan from the Palatina Manuscript.......... 38 1 1 . Flat Wing Setting ................................ 40 1 2 . Palais Royale Wing Shifting Mechanism ............ 41 13. Palatina Manuscript Wing Shifting Mechanism . , 43 14. Permanent Borders from the Palatina Manuscript . 45 15. Changeable Borders from the Palatina Manuscript . 46 16. Border Changing Mechanism from the Palatina Manuscript ................... 47 17. Sabbattini's Rear Closure Mechanisms ............ 49 18. Rear Closure Mechanism from the Oliveriani Manuscript ................................... 51 19. Rear closure Mechanism from the Palatina Manuscript .................................... 52 viii Figure Page 20. Upper Stage Shown in the Palatina Manuscript ...... 54 21. Setting for the Valenciennes Passion Play....... 59 22. Setting for Bellerofonte....................... 63 23. Setting for Andromeda ........................ 64 24. Furttenbach's Still and Sliding Haves........... 66 25. Sabbattini's Second Method of Showing a Sea . 68 26. Upstage.Have Machine from the Palatina Manuscript.................................. 69 27. Downstage Have Machine from the Palatina Manuscript.................................. 71 28. Sea Scene from the Palatina Manuscript......... 72 29. Furttenbach's Upstanding Have ................. 74 30. Furrtenbach's Violent H a v e ..................... 75 31. Sabbattini's Third Method of Showing a Sea .... 77 32. Sabbattini's Rising and Swelling S e a ..... 7 g 33. Have Machine from Diderot's Encyclopedia. gg 34. Sabbattini's First Method of Showing a Sea .... 81 35. Have Machine from the Tessin Manuscript... 82 36. Sabbattini's Flowing R i v e r .............. 85 37. Sabbattini's Fountain ......................... gg 38. Fountain from Tessin Manuscript................. rq 39. Fountain from Diderot's Encyclopedia ............ 91 40. Tessin Monster with Fountain................... 92 41. Sabbattini's Sea Mo n B t e r ....................... 91, 42. Furttenbach's Sea Monster ..................... 96 ix 4