What Do You Call the Seats That Are on the Side of Permforming Arts Center

Performing arts venue (building)

A theater, theatre or playhouse, is a structure where theatrical works, performing arts and musical concerts are presented. The theater building serves to ascertain the performance and audience spaces. The facility usually is organized to provide support areas for performers, the technical crew and the audition members, also as the stage where the performance takes identify.

At that place are as many types of theaters as there are types of performance. Theaters may be built specifically for a sure types of productions, they may serve for more full general performance needs or they may be adjusted or converted for use as a theater. They may range from open-air amphitheaters to ornate, cathedral-similar structures to simple, undecorated rooms or black box theaters. A theatre used for opera performances is chosen an opera house. A theater is not required for performance (as in environmental theater or street theater), this article is nigh structures used specifically for performance. Some theaters may have a fixed acting surface area (in most theaters this is known equally the stage), while some theaters, such every bit blackness box theaters take movable seating assuasive the production to create a performance area suitable for the production.

Elements of a theater building [edit]

A theater building or construction contains spaces for an event or operation to take place, usually called the phase, and also spaces for the audience, theater staff, performers and crew before and afterward the event.^[1]

There are normally 2 main entrances of a theater building. Ane is at the front, used by the audition, and leads into a lobby and ticketing. The second is called the stage door, and it is accessible from backstage. This is where the cast and crew enter and exit the theater, and fans sometimes wait exterior it after the show in order to get autographs, called "phase dooring".

Stage [edit]

The acting or performance space is the phase. In some theaters, such as proscenium theaters, arena theaters and amphitheaters, this area is permanent office of the structure. In some theaters the stage expanse can exist inverse and adapted specifically to a production, often called a black box theater, due to the common exercise of the walls being painted black and hung with black drapes.^[i]

Backstage and offstage [edit]

Normally in a edifice used specifically for performance there are offstage spaces used by the performers and crew. This is where props, sets and scenery are stored, and the performers standby before their entrance. These offstage spaces are called wings on either side of a proscenium phase. A prompter's box may be found backstage. In an amphitheater, an area behind the stage may be designated for such uses while a blackbox theater may have spaces outside of the bodily theater designated for such uses.

Often a theater will incorporate other spaces intended for the performers and other personnel. A booth facing the stage may be incorporated into the house where lighting and sound personnel may view the show and run their respective instruments. Other rooms in the building may be used for dressing rooms, rehearsal rooms, spaces for constructing sets, props and costumes, too as storage.

Seating and audition [edit]

Maryland Theatre in Hagerstown, Maryland, showing the stage, proscenium and seating

All theaters provide a space for an audition. In a fixed seating theatre the audition is often separated from the performers past the proscenium arch. In proscenium theaters and amphitheaters, the proscenium arch, like the stage, is a permanent characteristic of the construction. This surface area is known as the auditorium or the firm.^[two]

The seating areas can include some or all of the following:

Stalls or arena (in Due north America, "orchestra"): the lower apartment area, usually below or at the aforementioned level every bit the stage. The give-and-take parterre (occasionally, parquet) is sometimes used to refer to a particular subset of this expanse. In N American usage this is commonly the rear seating block below the gallery (see below) whereas in Britain information technology can mean either the expanse in forepart near the orchestra pit, or the whole of the stalls. The term can as well refer to the side stalls in some usages. Derived from the gardening term parterre, the usage refers to the sectioned pattern of both the seats of an auditorium and of the planted beds seen in garden structure. Throughout the 18th century the term was also used to refer to the theater audience who occupied the parterre.
Balconies or galleries: one or more than raised seating platforms towards the rear of the auditorium. In larger theaters, multiple levels are stacked vertically above or behind the stalls. The first level is unremarkably called the dress circle or g circle. The side by side level may be the loge, from the French version of loggia. A second tier inserted beneath the main balcony may be the mezzanine. The highest platform, or upper circle, is sometimes known as "the gods", especially in big opera houses, where the seats can be very loftier and a long distance from the phase.
Boxes (state box or phase box): typically placed immediately to the front, side and higher up the level of the phase. They are often split rooms with an open viewing surface area which typically seat upwardly to five people. These seats are typically considered the most prestigious of the business firm. A "state box" or "royal box" is sometimes provided for dignitaries.
House seats: these are "the best seats in the house", giving the best view of the phase. Though each theater's layout is unlike, these are ordinarily in the eye of the stalls. These seats are traditionally reserved for the cast and coiffure to invite family members, agents, and others. If they are not used, they unremarkably continue sale on the day of the performance.

History [edit]

Open-air theaters [edit]

The ancient theater in Delphi, Hellenic republic

Ancient Greece [edit]

Greek theater buildings were called a theatron ('seeing identify'). The theaters were large, open up-air structures constructed on the slopes of hills. They consisted of 3 principal elements: the orchestra, the skene, and the audition.

The centerpiece of the theater was the orchestra, or "dancing place", a large circular or rectangular area. The orchestra was the site of the choral performances, the religious rites, and, possibly, the interim. An altar was located in the eye of the orchestra; in Athens, the altar was defended to Dionysus.

Behind the orchestra was a big rectangular edifice called the skene (meaning "tent" or "hut"). It was used as a "backstage" expanse where actors could change their costumes and masks, but as well served to stand for the location of the plays, which were unremarkably set in front end of a palace or house. Typically, there were 2 or three doors in the skene that led out onto orchestra, and from which actors could enter and go out. At showtime, the skene was literally a tent or hut, put upwardly for the religious festival and taken down when information technology was finished. Later, the skene became a permanent rock structure. These structures were sometimes painted to serve every bit backdrops, hence the English word scenery. A temple nearby, especially on the right side of the scene, is nearly always part of the Greek theater circuitous, which could justify, as a transposition, the recurrence of the pediment with the later solidified stone scene.^[3]

In front of the skene there may have been a raised acting surface area called the proskenion, the ancestor of the mod proscenium stage. It is possible that the actors (as opposed to the chorus) acted entirely on the proskenion, but this is non certain.

Ascent from the circle of the orchestra was the audience. The audience sat on tiers of benches congenital up on the side of a hill. Greek theaters, then, could but be congenital on hills that were correctly shaped. A typical theater was enormous, able to seat around 15,000 viewers.

Greek theaters were non enclosed; the audience could encounter each other and the surrounding countryside besides equally the actors and chorus.

	The Theatre at Athens From Dorpfeld and Reisch, Das griechische Theater (Athens, 1896), as presented in the commodity on "Theatre" from the 1911 edition of Encyclopædia Britannica.
	ab,	double western wall.
	bc,	single wall.
	aa, gg,	walls terminating wings of auditorium.
	b, f,	entrances.
	c,	the "katatome" (where the rock of the Acropolis was met by the walls).
	d, e,	diazoma.
	fg,	eastern boundary wall.
	hh,	front wall of Neronian stage.
	i,	fragment 5th-century orchestra.
	klm,	aboriginal masonry (? of supporting walls).
	nn,	oldest stage buildings.
	oo,	stone proscenium (1st or 2nd century B.C. ).
	p,	foundations of Neronian side wings.
	qr,	fragments 5th-century orchestra.
	s,	4th-century portico.
	t,	old Dionysus temple.

Ancient Rome [edit]

The Romans copied the Greek style of building, only tended non to be then concerned about the location, being prepared to build walls and terraces instead of looking for a naturally occurring site.

The auditorium (literally "place for hearing" in Latin) was the surface area in which people gathered, and was sometimes synthetic on a small hill or slope in which stacked seating could exist easily made in the tradition of the Greek Theatres. The central part of the auditorium was hollowed out of a loma or gradient, while the outer radian seats required structural support and solid retaining walls. This was of course not ever the case as Romans tended to build their theatres regardless of the availability of hillsides. All theatres built inside the urban center of Rome were completely man-made without the utilise of excavation. The auditorium was not roofed; rather, awnings (vela) could exist pulled overhead to provide shelter from rain or sunlight.^[4]

Some Roman theatres, constructed of woods, were torn down later the festival for which they were erected ended. This practice was due to a moratorium on permanent theatre structures that lasted until 55 BC when the Theatre of Pompey was built with the addition of a temple to avert the law. Some Roman theatres show signs of never having been completed in the first place.^[5]

Inside Rome, few theatres take survived the centuries following their construction, providing little evidence about the specific theatres. Arausio, the theatre in modernistic-day Orange, France, is a good example of a classic Roman theatre, with an indented scaenae frons, reminiscent of Western Roman theatre designs, however missing the more ornamental construction. The Arausio is still standing today and, with its amazing structural acoustics and having had its seating reconstructed, can exist seen to be a marvel of Roman compages.^[4]

Elizabethan England [edit]

During the Elizabethan era in England, theaters were constructed of wooden framing, infilled with wattle and daub and roofed with thatch. More often than not the theaters were entirely open air. They consisted of several floors of covered galleries surrounding a courtyard which was open up to the elements. A big portion of the audience would stand in the yard, directly in front of the phase. This layout is said to derive from the practise of holding plays in the yard of an inn. Archaeological excavations of The Rose theater at London's Bankside, congenital 1587, have shown that it had en external diameter of 72 feet (22 metres). The nearby Globe Theatre (1599) was larger, at 100 feet (xxx metres). Other evidence for the round shape is a line in Shakespeare's Henry V which calls the edifice "this wooden O", and several rough woodcut illustrations of the urban center of London.

Around this fourth dimension, the green room, a place for actors to wait until required on stage, became mutual terminology in English theaters.

The World has now been rebuilt as a fully working and producing theater well-nigh its original site (largely thank you to the efforts of picture director Sam Wanamaker) to requite modern audiences an idea of the environs for which Shakespeare and other playwrights of the period were writing.

Indoor theaters [edit]

Renaissance Europe [edit]

During the Renaissance, the get-go modernistic enclosed theaters were constructed in Italy. Their structure was similar to that of ancient theaters, with a cavea and an architectural scenery, representing a urban center street. The oldest surviving examples of this style are the Teatro Olimpico in Vicenza (1580) and the Teatro all'antica in Sabbioneta (1590).

At the get-go of 17th century theaters had moved indoors and began to resemble the arrangement nosotros see almost frequently today, with a stage separated from the audition past a proscenium arch. This coincided with a growing interest in scenic elements painted in perspective, such equally those created past Inigo Jones, Nicola Sabbatini and the Galli da Bibiena family. The perspective of these elements could merely be viewed properly from the eye back of the auditorium, in the and so-called "duke's chair." The higher one's condition, the closer they would be seated to this vantage point, and the more the accurately they would be able to encounter the perspective elements.

The first enclosed theaters were court theaters, open up just to the sovereigns and the dignity. The first opera house open up to the public was the Teatro San Cassiano (1637) in Venice. The Italian opera houses were the model for the subsequent theaters throughout Europe.

German operatic influence [edit]

Richard Wagner placed great importance on "mood setting" elements, such as a darkened theater, sound effects, and seating arrangements (lowering the orchestra pit) which focused the attending of audience on the stage, completely immersing them in the imaginary world of the music drama. These concepts were revolutionary at the fourth dimension, but they take since come to be taken for granted in the modernistic operatic environment besides as many other types of theatrical endeavors.

Contemporary theaters [edit]

Contemporary theaters are often not-traditional, such as very adaptable spaces, or theaters where audition and performers are not separated. A major example of this is the modular theater, notably the Walt Disney Modular Theater. This large theater has floors and walls divided into small movable sections, with the floor sections on adjustable hydraulic pylons, then that the space may be adjusted into any configuration for each individual play. Equally new styles of theater performance have evolved, so has the desire to improve or recreate performance venues. This applies equally to creative and presentation techniques, such every bit stage lighting.

Specific designs of gimmicky live theaters include proscenium, thrust, black box theater, theater in the round, amphitheater, and arena. In the classical Indian dance, Natya Shastra defines three stage types. In Commonwealth of australia and New Zealand a small and simple theater, particularly i contained within a larger venue, is chosen a theatrette.^[six] The word originated in 1920s London, for a small-scale music venue.^[7]

Theatrical performances can also take place in venues adapted from other purposes, such as train carriages. In recent years the Edinburgh Fringe has seen performances in an Hover Motorcar and a taxi.

Asian theater design [edit]

Noh [edit]

1: hashigakari. 2: kyōgen spot. three: stage attendants. iv: stick drum. 5: hip drum. half-dozen: shoulder drum. 7: flute. eight: chorus. 9: waki seat. 10: waki spot. eleven: shite spot. 12: shite-bashira. 13: metsuke-bashira. xiv: waki-bashira. 15: fue-bashira.

The traditional stage used in Noh theater is based on a Chinese pattern. Information technology is completely open, providing a shared experience between the performers and the audience throughout the play. Without whatsoever prosceniums or defunction to obstruct the view, the audience sees each actor at moments even before inbound the principal platform of the stage. The theater itself is considered symbolic and treated with reverence both by the performers and the audience.^[8]

The stage includes a large foursquare platform, devoid of walls or defunction on three sides, and traditionally with a painting of a pino tree at the back. The platform is elevated higher up the place where the audience sits, which is covered in white gravel soil. The four stage corners are marked by cedar pillars, and the whole is topped past a roof, fifty-fifty when the Noh stage is erected indoors. A ceramic jar system nether the stage amplifies the sounds of dancing during the performance. There is a modest door to permit entry of the musicians and vocalists.

The independent roof is one of the most recognizable characteristic of the Noh stage. Supported by four columns, the roof symbolizes the sanctity of the stage, with its architectural pattern derived from the worship pavilion (haiden) or sacred dance pavilion (kaguraden) of Shinto shrines. The roof also unifies the theater infinite and defines the phase as an architectural entity.^[viii]

The pillars supporting the roof are named shitebashira (principal character's pillar), metsukebashira (gazing colonnade), wakibashira (secondary character'southward pillar), and fuebashira (flute pillar), clockwise from upstage correct respectively. Each pillar is associated with the performers and their deportment.^[9]

The phase is made entirely of unfinished hinoki, a Japanese cypress, with near no decorative elements. The poet and novelist Toson Shimazaki writes that "on the phase of the Noh theater there are no sets that change with each piece. Neither is there a curtain. There is just a unproblematic panel (kagami-ita) with a painting of a dark-green pino tree. This creates the impression that anything that could provide any shading has been banished. To break such monotony and make something happen is no easy affair."^[8]

Another unique feature of the stage is the hashigakari, a narrow bridge at upstage right used by actors to enter the stage. Hashigakari ways "suspension bridge", signifying something aerial that connects two separate worlds on a same level. The bridge symbolizes the mythic nature of Noh plays in which otherworldly ghosts and spirits often appear. In contrast, hanamichi in Kabuki theaters is literally a path (michi) that connects two spaces in a single earth, thus has a completely different significance.^[8]

A contemporary Noh theatre with indoor roofed structure

Kabuki [edit]

Shibai Ukie ("A Scene from a Play") past Masanobu Okumura (1686–1764), depicting Edo Ichimura-za theater in the early 1740s

The Japanese kabuki phase features a projection called a hanamichi (花道; literally, bloom path), a walkway which extends into the audition and via which dramatic entrances and exits are made. Okuni also performed on a hanamichi phase with her entourage. The stage is used not only every bit a walkway or path to get to and from the primary stage, just important scenes are likewise played on the stage. Kabuki stages and theaters take steadily become more technologically sophisticated, and innovations including revolving stages and trap doors were introduced during the 18th century. A driving force has been the desire to manifest ane frequent theme of kabuki theater, that of the sudden, dramatic revelation or transformation.^[10] A number of stage tricks, including actors' rapid advent and disappearance, employ these innovations. The term keren (外連), frequently translated playing to the gallery, is sometimes used as a catch-all for these tricks. Hanamichi and several innovations including revolving stage, seri and chunori have all contributed to kabuki play. Hanamichi creates depth and both seri and chunori provide a vertical dimension.

Koothambalam [edit]

Koothambalam Theatre Exterior

The Indian Koothambalam temple is a space used to perform Sanskrit drama. Called the koothambalam or kuttampalam, it is a large high-caste rectangular, temple in Kerala which represented a "visual cede" to any deities or gods of the temple. They were built for kutiyattam or "combined interim" performances, which only two dramas are performed today.^[11]

The temple has a pyramidal roof, with loftier walls, and a high-ceilinged interior. Within the large temple has a stage within which is a large platform with its own pyramid roof. The stage area is split from the audience area with the musician (a drummer on a high seat) behind the phase, and dressing rooms also at the rear with exit doors behind. The audience would be seated on a smooth, polished flooring. Several Koothambalams exist inside several Indian temples,^{[ clarification needed ]} ^{[ does this hateful several in each? ]} and follow the same rectangular plan and structure.

Encounter also [edit]

Auditorium
Entertainment
Learning space
List of national theaters
The Theatre of Small Convenience, the smallest theater in the earth

References [edit]

^ ^a ^b "Theatre pattern | architecture". Britannica . Retrieved February 19, 2022.
^ "Information technology's Not Only a Phase". The Kennedy Center . Retrieved February 19, 2022.
^ Brnić, Ivica (2019). Nahe Ferne: Sakrale Aspekte im Prisma der Profanbauten von Tadao Ando, Louis I. Kahn und Peter Zumthor. Zurich: Park Books. p. 78-79. ISBN978-three-03860-121-0.
^ ^a ^b Richard Allan Tomlinson. "Theatres (Greek and Roman), structure", The Oxford Companion to Classical Culture. Ed. Simon Hornblower and Antony Spawforth. Oxford University Printing, 1998. Oxford Reference Online. Oxford Academy Printing. Northwestern University. xi May 2007.
^ Constance Campbell. "The Uncompleted Theatres of Rome", The Johns Hopkins University Press. Theatre Journal 55.1 (2003) 67–79 10 May 2007.
^ Moore, Bruce 1999. The Australian Oxford Dictionary ISBN 0-xix-551796-ii
^ "theatrette". Oxford English Lexicon (2 ed.). 1989.
^ ^a ^b ^c ^d Komparu, Kunio (1983). The Noh Theater: Principles and Perspectives. New York / Tokyo: John Weatherhill, Inc. ISBN0-8348-1529-X.
^ Brockett, Oscar Chiliad.; Hildy, Franklin J. (2007). History of the Theatre (Foundation ed.). Boston, MA: Allyn and Bacon. ISBN978-0-205-47360-i.
^ Scott, A. C. (1955). The Kabuki Theatre of Japan . London: George Allen & Unwin Ltd.
^ Sorgenfrei, Carol Fisher, et al. Theatre Histories: An Introduction. 2nd ed., Routledge, 2007.

External links [edit]

Carthalia – Theatres on Postcards (pictures of theaters)
Music Hall and Theatre History Contains annal cloth on hundreds of British Theater buildings.
European Theatre Architecture A database of theatre buildings in Europe.

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Source: https://en.wikipedia.org/wiki/Theater_(structure)