Professional Documents
Culture Documents
OPEN-AIR
THEATRE
BY
SHELDON
CHENEY
NEW
YORK
MITCHELL
KENNERLEY
MCMXVIII
COPYRIGHT MITCHELL
IQiS
KENNERLEY
BY
9 I c]
PRINTED
IN
AMERICA
PREFACE
MY
in every
a
object
in
writing
first,
this
to
volume
has
for that is the
been
three-fold:
offer,
creasing in-
large
public
which
of
ested inter-
significant development
view
to
drama,
ment move-
comprehensive
with
relation
of both
current
the the
open-air
historical
theatre
background
to
and
the the
revival;
first-aid modern
second,
vide pro-
with
compendium open-air
if it has
of
formatio in-
old
and
theatres,
existed
at
bringing
all in
together
has
material been
which,
print,
and
scattered articles
;
through
and
hundred
those view
books
magazine
with
third,
a
to
give
open-air
of the
open
to
production
in all them
ages
to
birdseye
and
an
all
lands,
by comparison,
of the of
help
ing understand-
peculiar production
of
treat
are
and
particular
problems
The is made
scope
to
the of in
volume
theatres the
No
attempt
the
half-enclosed
architectural There volume is
as
type,
theatre
no
which with
effect
ordinary
roof
the
auditorium
to
lifted. the
intention,
moreover,
put
forth
PREFACE
an
exhaustive
treatise.
Doubtless
not
come so
there
to
are
many
theatres open-air
that have
the writer's
notice,and
that
certain others
offer
little of interest
would merely be tedious. But it descriptions portant imis thought that every playhouse which is really for its unique either for its productions or structural form, has been described. I have worked full realization that this firstbook
must
as a on
with
be
a a
It is offered I
hope
will
will
attract
students, and
the
which
doubtless
historian in due
to
time.
refer continually
artificialities of the
stage, it is
theatre.
not
because
my
Indeed,
generation re-
institution is
strong.
open-air
and artificiality. sophistication aid in the people have given generous compilationof this book, that it is impossibleto
many
So
make
detailed
acknowledgment.
about
To
the many
who
have
provided information
or
their
tres, privatethea-
about
vi
PREFACE A
owing to Professor Thomas of Wisconsin, not of the University Dickinson about the playhouseat Madison for information
debt special is for material
H.
only
but
on
gleaned from
his admirable
essay
open-airtheatres in The Playbook of June, 1913. Sam Goble and to Mr. Mr. To Leroy Truman for material about open-air I am Hume grateful duction prohave esin Europe, which otherwise would caped
me.
To for
Miss
Lincoln
Edwards
owe
thanks American
are
similar
in connection
with
certain
theatres. based
; but
on
chapterson
drawn from
historic theatres
a
material
multitude be made
Attic atre. The-
of
to
sources
A.
E.
January,
have of
number
of
Landscape
upon.
ture Architec-
been the
freely drawn
Italian theatres and
to
For
graphs photoare
due
to
H.
Inigo Triggs
for
Aubrey
Le-
Blond; and
Professor
introductory
chapterwas
zine, publishedin part in Craftsman Magaand the chapter on garden theatres originally The editors appeared in Country Life in America. have kindlygiven permission to reprint.
vii
PREFACE The
year
book
was
written
was
almost
1915,
and
announced
difficultiesin the way of obtaining and other delays,have vented preI have taken
earlier appearance.
of this circumstance
were
had
been
Vlll
CONTENTS
CHAPTER
.
PAGE
I.
THE
OPEN-AIR
THEATRE
MOVEMENT
II.
THE
OLD
GREEK
AND
ROMAN
THEATRES
13
III.
THE
MODERN
GREEK
THEATRES
30
IV.
THE
MEDIEVAL
RELIGIOUS
THEATRE
AND
ITS
SURVIVALS
51 THEATRE
V.
THE
NATURE
64
87
OPEN
VI.
THE
GARDEN
THEATRE
VII.
THE
DRAMA
OF
THE
in
APPENDIX
I.
THE
PLANNING
AIR
AND
CONSTRUCTION
OF
OPEN-
THEATRES
135
II.
VlTRUVIUS
ON
THE
CONSTRUCTION THEATRES
OF
GREEK
AND
ROMAN
INDEX
185
LIST
OF
ILLUSTRATIONS
1.
CORNER
OF
THE OF
ARENA GORDON
GOLDONI
Frontispiece
PAGE
(BY
2.
COURTESY
CRAIG)
THEATRE
THE THE
CRANBROOK
BOHEMIAN
GREEK GROVE
BY
6
8
3.
THEATRE
(PHOTOGRAPH
4.
GABRIEL
AT
MOULIN)
VILLA The
THE
GARDEN
THEATRE
INIGO
GORI
Art
10
(FROM Design
5.
H. in
TRIGGS'
of Garden
Italy)
OF BY
THE
THEATRE
DIONYSUS
AT
ATHENS
14
(PHOTOGRAPH
6.
ALINARI)
THE
RESTORATION
OF
GREEK
THEATRE
AT
EGESTA
7.
18
THE
GREEK
THEATRE
OF
AT
EPIDAURUS
20
(BY
8.
COURTESY
PROFESSOR
AT
ALLEN
SYRACUSE
MARQUAND)
22
RUINS
OF
THE
THEATRE
BY
(PHOTOGRAPH
9.
ALINARI)
GREEK
AND
SKETCH
PLANS
OF
ROMAN
TRES THEA23
10.
RUINS
OF
THE
ROMAN
BY
THEATRE
AT
TAORMINA
24
(PHOTOGRAPH
11.
a.
ALINARI)
OF THE
RESTORATION
ROMAN
THEATRE
AT
ORANGE
26
OF
(BY
COURTESY
RlCHARD
SlLVESTER)
xi
LIST
b. THE
OF
ILLUSTRATIONS
PAGE
ROMAN STATE
THEATRE
AT
ORANGE,
PRESENT
(Bv
12.
COURTESY
OF
Fogue)
AT
THE
SMALLER
THEATRE
BY
POMPEII
28
(PHOTOGRAPH
13.
a.
ALINARI)
THEATRE
FOR AT
THE
HEARST
GREEK DRAWING
BERKELEY
32
b. ARCHITECT'S
HEARST
GREEK
THEATRE
OF
JOHN GALEN
POINT
BY
HOWARD,
GREEK
THEATRE
AT
LOMA KATHERINE
36
(PHOTOGRAPHS TINGLEY)
15. THE 16.
a.
COPYRIGHT
CRANBROOK THE
POMONA
GREEK GREEK
BY
THEATRE
THEATRE PIERCE
AND
38
42
(PHOTOGRAPH
b. THE BAKERSFIELD
COURTESY
WILLARD)
CHITECT) HoBART, AR-
GREEK
OF
THEATRE
P.
(BY
17. PLAN
LEWIS
OF
THE
ARENA
OF
GOLDONI GORDON
AS
44
(BY
1
COURTESY
CRAIG)
SEEN
FROM THE
8. THE
ARENA
STAGE
GOLDONI
46
OF
(BY
19. THE
20.
COURTESY
GORDON
AT
CRAIG)
48
CIENNES VALEN1-4
GREEK
THEATRE
PLAY
BRADFIELD
AT
THE
PASSION
THEATRE
(FROM CHARLES of
the
H.
CAFFIN'S
The
tion Apprecia-
Drama)
xii
THE
ROSEMARY
THEATRE,
NEW
AT
HUNTINGTON,
YORK.
LONG
ISLAND,
LIST
21.
OF
ILLUSTRATIONS
PAGE
CONTEMPORARY THEATRE
SKETCH
OF
AN
ELIZABETHAN
58
H. CAFFIN'S
The
tion AppreciaOBER-AM6O
THE
PASSION
MERGAU
PLAY
THEATRE
AT
23. THE
24.
HARZ NATURE
MOUNTAIN THEATRE
THEATRE
AT
66
THE
HERTENSTEIN THEATRE
68
70
KLAMPENBORG
VASSAR
COURTESY
WOODS
COLLEGE
OF
THEATRE LoRING
74
(BY
27. THE
28.
UNDERWOOD,
CHITECT) AR-
DELL NATURE
THEATRE THEATRE
OF AT
76
MACOMB
P.
THE
78
(BY
29.
COURTESY
WALTER
MORGAN)
80
THE
a.
PETERBOROUGH THE
BANKSIDE
COURTESY
PAGEANT
THEATRE
OF
THEATRE
30.
84
FREDERICK
(BY
H. b. THE
PROFESSOR
KOCH)
MOUNT TAMALPAIS
BY AT OF AT OF
THEATRE
(PHOTOGRAPH
31. GARDEN
GABRIEL MONTECITO
HENRY VILLA E.
MOULIN)
90
THEATRE
COURTESY
(BY
32. GARDEN
BoTHIN)
94
THEATRE
HENRY
THE
WATER
THEATRE
IN
AT
VERSAILLES
THE
96
DENS GAR-
b. THE
AMPHITHEATRE
BOBOLI
"""
Xlll
LIST
THE TREILLAGE
OF
ILLUSTRATIONS
PAGE
34.
THEATRE
BY
AT
MANNHEIM
98
(PHOTOGRAPH
35.
a.
B.
TILLMANN-MATTER)
102
THE
BROOKSIDE
THEATRE
BY
(PHOTOGRAPH SERVICE)
b. THE
NEW
YORK
HERALD
GARDEN
COURTESY
IN THE
TERRACE
OF
THEATRE
DR. G. H.
DURAND)
SAW WAR104
LAZIENSKI
GARDENS,
37. THE
ROSEMARY
COURTESY
THEATRE
OF
106 R.
(BY
38. GARDEN (BY
ROLAND
AT
CoNKLIN)
no
THEATRE
COURTESY
MONTECITO
MRS.
OF
WlLLIAM
MlLLER
GRAHAM)
39. A
PRODUCTION THEATRE
IN
THE
BOHEMIAN
GROVE
122
(PHOTOGRAPH
40. A
BY
GABRIEL
THE
MOULIN)
LOMA
PRODUCTION
AT
POINT
GREEK
128
THEATRE
(PHOTOGRAPH TINGLE Y)
41.
COPYRIGHT
BY
KATHERINE
RUINS
OF
THE
THEATRE
BY
AT
FIESOLE
138
(PHOTOGRAPH
42.
ALINARI)
BETWEEN
DIAGRAM
AND
OF
RELATIONS
AUDITORIUM
140
STAGE
OF THE COURTESY
43.
PLAN
HEARST
OF
GREEK
THEATRE GALEN
142
(BY
JOHN
xiv
HOWARD,
ARCHITECT)
LIST
PLAN
OF
ILLUSTRATIONS
PAGE
44.
OF
THE
CRANBROOK
OF
GREEK
THEATRE
144
(Bv
45. PLAN
COURTESY
OF
Modern
Building)
MEMORIAL A. WAUGH,
THE
BUTTERICK
OF
THEATRE
TECT) ARCHI-
146
(BY
COURTESY
FRANK
AT
PRIENE
OF
PROFESSOR
PLANS
OF
ITALIAN
GARDEN
156
IN THE
48. CHAIRS
OF
HONOR
THEATRE
OF
SUS DIONY160
(PHOTOGRAPH
49.
BY
ENGLISH
PHOTO
COMPANY)
164
DESIGN
PAGEANT
OF
STAGE
(BY
50. PLAN
HERMANN THEATRE
RoSSE)
ACCORDING TO
ROMAN
VITRUVIUS
174
OF THE
HARVARD
UNIVERSITY
GREEK
THEATRE
ACCORDING
TO
VITRUVIUS
180
OF THE
HARVARD
UNIVERSITY
XV
THE
OPEN-AIR of the
art
THEATRE is
renaissance
waiting
their
pressed ex-
will express
Greeks
have
may
and
read interest
new
meaning
al
into
revival
not
of
in the
fresco drama.
been
For
decadence
roofed
the
over
there
many
so
many
productions in
as
open
outdoor
average
theatres
there
are
to-day.
of the
For outdoor
the
theatregoer, who
thinks
dramatic
comes as
production
a
as
an
extra-normal
open-
it affair, air
to surprise
more
theatre
has
existed
the
thousand
years,
whereas of
a
playhouse
deed, Inof
clusively ex-
is
matter
mere
four
the
that
art's
is
the In Greece
an
in the dances of
about
the
at
god
the
Dionysus; it
side of the the
a
platforms erected
later
at
"orchestra,"
at first in dancing-circle,
the
foot
of
hillside that
art
natural and
auditorium; and
the finally
^Eschylus
in
at
Sophocles
and then
and
Euripides
theatres
flowered
the
beautiful
architectural de-
of Athens,
first of wood,
THE
tiful beau-
Romans,
matters
stumbling
certain
on
in all
building,gaining
of the
of
beauty and
and
natural
grace
they took
when the Middle
indoor the
playhouse
of
art
they
stage.
over
darkness dramatic
Ages
Europe,
became
merely
degraded
bands of actors playthingof travelling because their vulgar and often obscene could
not
and
perhaps
great
performances
the and the classic lasted
to
stand
the
clear
light of day,
"
playhouse fell
drama
into
disuse which
reborn
in the tenth
as soon
and
as
eleventh it became
than
mere
incident out-of-doors.
on
of
religiousservice it
At
firstthe
Mystery
then
on
acted the
the church
steps, and
Then the
platforms in
churchyard.
on
pageant-cars,
which
they
present tableaus
in the
religious processions,
into elaborate
platform stages on which the more elaborate Miracle acted, with realistic Plays were of Hell, Paradise, and other Biblical representations
THE
OPEN-AIR
THEATRE
period,and playhouse for the early Elizabethan somed, and Shakespeare blosthe genius of Marlowe when to the theatre stage and pit still were open
the
were sky, though the galleries
roofed. house
was
In the
pletely com-
later
Elizabethan covered
over
the
drama
most
entered
upon
that
most
period
in which
it became
polished but
the
artificial and
from
people.
was
For
nearly three
notable
estates
following there
nobles into of the
only one
On the
revival of the
open-airplayhouse.
late
den gar-
Renaissance
period,there
with
being the
design,
perfectaccord
ideal that time; and in the
villa
gardens, and
forming
of
made
gardens of France
as interesting
Germany.
di verdura"
But
may
be, it
was
world-wide
men
and
women are
who
to-day are
taking
the
out-of-doors
inspired with
that brought forth the classic somethingof the spirit open-airtheatre and the pre-Elizabethanreligious
theatre; and
the
present
age
must
take inevitably
THE
its
MOVEMENT
three
place as
one
of the world's
great
periods
of outdoor
The
dramatic
production.
is
a
current
revival
one
spontaneous
a
on arising
the
hand
from
as
a
corrective
on
the
other, from
and
spiritof
experiment,
protest
This indoor against the over-sophisticated stage. has brought into being countless dramatic movement festivals and in the number So
pageants,
of al
and
remarkable
increase
fresco theatres
ruins, that
of every
at
type.
to-dayone
theatre famous
Orange,
Parisian
France, cleared
company may
annually revive
California
a
classic
new
as
plays there;
beautiful
and Greek
in
faraway
and
an
theatre
has been
to
built,not
very
a satisfy
need pressing
same
open-airstructure.
theatre has in the
on
In that
unique forest
developed
of the
drama
form while
Grove
Plays
Bohemian the
Club,
borough Peter-
the other
Theatre
create
Pageant
Europe, too, unique phases of dramatic art are being created at the "nature" theatres at Thale, at Hertenstein, and in the Klampenborg Woods near Copenhagen. And in many parts of the world the
THE
OPEN-AIR
is
THEATRE
garden theatre
to
its proper
a
again bringing the poetic drama settingof green trees and open sky.
now
It is
poor
month
that
does
not
bring to
of the
the
devotee
either
another word
theatre
tablishmen es-
outdoor of In
The be
are
found
directions. dramatic
a or
important
is
to
artistic in
generalthere
as an
distinct value
anythingthat
in the
antidote of
typing stereo-
dramatic Because
"regular"
more
theatres. often
a an
the
open-airproduction is
new
experiment in
a
forms,
or
revival
set
of
than classic,
play that
a
conforms
to
the
indoor both
broadening effect on
In
and
the
the
open-air presented
from of
theatres dramas
of from
America
been
the
French, from
even
the German,
the
Norwegian,
have
and
Japanese; and
notable
there
been
revivals of
Miracle
Plays
and
as a
and
plays by
English
Bernard
dramatist Shaw
from
Shakespeare
of the
and As
Jonson
an
to
Stephen Phillips.
corrective
educative
force, and
of
the
commercial
theatre,
But
productions can
hardly be
overvalued.
THE
CRANBROOK
GREEK
THEATRE.
AN
EXAMPLE
OF
THE
FIRST,
OR
ARCHITECTURAL,
TYPE
OF
OPEN-AIR
THEATRE.
[MARCUS
R.
BURROWES,
ARCHITECT]
THE
OPEN-AIR
theatre. and
of the indoor
force
to
matter
of
example,
by training dramatic
of the
open,
the
and simplicity
drama and
to
directness rid
helping
have
the
indoor
itself of
those
deadening
that
conventions
so
those
artificial
art
trappings
long burdened
Eleanora
dramatic has
be
Duse
must
said:
"To
save
the
theatre,
and
the
theatre
must
actors
actresses
They
We
poison
should
drama
ple peo-
the
return
impossible.
the
open
the Greeks,
play in
and
air; the
dies
of
stalls and
come
boxes
who
to
no
digesttheir dinner."
idea she drama she form of did
Duse
to
probably
open.
had
the
Perhaps
sort
that be
very
vital
and
lovely
doors.
of
might
very
developed
was
out-ofthis:
be
tists ar-
But
no
what
certainlyfelt
dramatic
the
that
current
of
activitycan
stage
all the stage,
playwrights,the
actors,
the audiences,
leaving behind
modern
eries trickgo
out
and
into
artificialities of the
open
the
and
and
learn
the
the simplicity,
the
sun
joyousness of
and
stars.
dramatic
production
the The
growth
as
of the
open-air theatre
in its social
as are
movement
is
quite
remarkable In the
in its dramatic
aspects.
first
place
there
what
may
be
FHE
BOHEMIAN
GROVE
THEATRE.
AN
"
EXAMPLE
TYPE.
OF
THE
NATURE
THEATRE"
[PHOTOGRAPH
BY
GABRIEL
MOULIN]
hygienicand
to
great
the out-of-doors.
mere
is the great of
callingof
taken dramatic
women
people
from Men
the roofed-in
placeshas
its
always
the
men
have
their sports
open; game,
and sends
outdoor
production,like
to
and
and
back
their cities
freshed re-
in mind
body.
Then
there
comes,
of solidifying association
less slightly in
so
the
a
community that
the
common
artistic purpose,
mere
only
in
from
fact of recreation
crowds. great
The
outdoor of
numbers
people
is
the
stant con-
very
real bond
such
gulf between
indoor tre. thea-
players and
achieves
audience the
Indeed,
present of that
production
communal
were
something
leaders
pervading
when the
which spirit
existed in Greece
actors
simply the
Ages when
audience in the and
reverence.
followers; and
which
the churchmen
playersand
spectator of
the
congregation,actor
common
and
sense
production a Looking
masques
worship
series of
munities com-
back
at
the
long
in
pageants
and
in the
last
open-air
io
THE and
OPEN-AIR
sometimes if in
THEATRE
theatres
one
improvised woodland
have than
not
tings, setto
ever cial so-
wonders
they
sense
done
more
create
healthy civic
about
written
aspect of the
the Here
open-airtheatre
is the
no
is
to
found
in
seating arrangements.
democratic
anywhere
are
purely
from
house, playexhibit
for there
boxes and
which
no
to
there is
division into
gallery.
others there is the
intangible
on cial so-
spiritual aspect,
each betterment.
as
subtle, almost
religiouseffect
make
so
must collectively
man
for
near are
is
never
else
God
vealed re-
when
to
certain him
of
dramatic
beauty
under
the open
sky.
For
of
modern,
be
divided
roughly
into three
acteristic char-
the
with massive
stage
theatres,
as
modern
examples
the Arena
Goldoni
at
Florence
and
the Hearst
to
Greek
Theatre
this type is
THE
THEATRE
AT
VILLA OR
GORI,
GARDEN
ITALY.
AN
EXAMPLE TYPE.
OF
THE
THIRD,
THEATRE,
12
THE
OPEN-AIR
THEATRE
while
the
theatres
at
Mannheim,
be
Germany,
as
and
Kisco,
New
York,
may
considered
typical
adaptations.
Each type
has its
distinctive which
virtues
and determine
its
tinctive disthe
ters mat-
limitations,
forms of of outdoor
really
As
production.
importance
the
to
these
are
prime
alike,
is made
theatre-designer
than
and
producer
type,
basis of
rather this
quence, se-
the
book's
on
into Greek
chapters.
and
on
Thus
the theatres
chapter
is
the
Roman the
followed
by
"Modern less in
sort
that
mediaeval Theatres."
in the done
religious
The
of
theatre,
average
but
by
Greek
reader,
than certain of of
ested interwhat of
history
and is
theatre-building
done
can
be
being
find with
in
playhouse,
treated in
will
one
thus
group,
all
a
the
theatres
one
type
each
house play-
from
and
the from
viewpoint
that of
of actual
tics, characterisin
matic dra-
production.
CHAPTER
II
THE
OLD
GREEK
AND
ROMAN
THEATRES
THE
it would such
a
Greeks drama
grew
did
not
designedly
it
was
take
their and
out-of-doors;
there
born drama
there
was
naturally.
with
The
timatel inand
take
religious celebration,
of
little short
sacrilege to
the artificial From it
was
expression
of time
into
and
artificializing atmosphere
to
indoors.
ning beginmerely
wooden
stone
a
end,
circle
to
from
the
when
rude benches
by
it
was
temporary
a
the the
magnificent
to
structure,
theatre
at
was
open
the
sky.
^When
permitted
songs
the
one
the
festivals
of
Dionysus
in the and
their
to
fellow-participants singled
chief
out
as
and
dances
to
be
the
leader,
allowed
him
take
part
in their became
upon
a
vised improliving
ficial sacrilers reveldied ban;
dialogues, thing.
At
the
first this
the
table, beside
had
the and
which*the
danced,
those
vantage-point
his "chorus"
with
who
and
i4
THE
OPEN-AIR
THEATRE benches
to
the
mere
onlookers
brought
the
tent,
up
all round
the the
dancing-circle.As
actor
parts
or
be
played by
was
multiplied,a
at
one
"skene,"
built for
could and retire
him
to
side
of the
circle,where
he
make
changes
to
of costume;
then
his
platform was
the chorus
the
to
while
continued
was
the
from
tral cenone
pushed
territoryabout
In this arrangement
less, of
be
seen
the
rough mould
theatre
was
into
cast.
which
every
later
most
Greek typically
was typical,
First, and
a
the of
"orchestra"
forming
the the
the
altar
Dionysus
in
centre,
which with
its of
the
rows
chorus
of
outer tent
danced;
seats
second,
auditorium
surrounding
of
perhaps
the third
for of
many
two-thirds
the
circumference
and
third, the
of
side, prototype
centuries
to
follow. the
glory
did
Greece
faded
before
grandeur of
the orchestra
and
become
the modern
cut
theatre; and
so
only then
was
was
the
auditorium
in
down
so
that
all the
it also
shape,
that the
spectators
than
orchestra./
true
always the
home
of Greek
drama,
THE
THEATRE
OF
DIONYSUS
AT
ATHENS.
THIS
IS
THE
MOST
IMPORTANT
OF
ALL
THEATRES
IN
HISTORY.
ON
THIS
SITE
DRAMATIC
ART
WAS
FIRST
DEVELOPED
OUT
OF
THE
GREEK
RELIGIOUS
FESTIVALS,
AND
AND
HERE
THE
GENIUS
OF
AESCHYLUS,
RUINS DATE
SOPHOCLES
EURIPIDES
FLOWERED.
THE
PRESENT
FROM
ONE
OF
THE
ROMAN
RECONSTRUCTIONS,
OF THE ORIGINAL GREEK
WHEN
THE
TRE THEA-
HAD
LOST
MANY
CHARACTERISTICS.
OLD
GREEK
AND built
for
ROMAN
15
at
structures
annually
in 499
the time
a
Dionysia sufficed
of years. wooden
many
the
productions for
B.C., when
Perhaps
it was
benches
collapsed,bringing
audience, that the
Even
of then the
injuryto
stage
of the
was
first substantial
seats
theatre
begun.
and
buildings were
only
the
wood;
but
the
earthen
foundations
was
underlay
of the
more
benches, and
solid
"skene"
and
probably beauty
there than
construction
tions erec-
greater
had
yearly temporary
controversy
it
seems
Although
established
among
over archaeologists
matter,
fairlywell
in which the
that
Athenian
theatre
B.C.
the
was
Passing
which
the wooden
over
gradual
modifications
theatres
doubtless
so
underwent, in
this century
which
may
witnessed
more
many
changes
to
in the
stone
drama,
one
turn profitably
the
to
of
reconstruction,
even
though
at
tragicdrama
time
had
declined alreadyperceptibly
they were
of
The famous
first stone
and
the
most
on
was
constructed
THE
to
OPEN-AIR
the
THEATRE the
a
dedicated
of the
god Dionysus,
orchestra
centre.
on
south
side
Acropolis. The
an
was
cle perfectcirthe
with
Greek earth
During
floor
was
purely
of
ment pave-
period
tamped
which
here
orchestra
formed marble
and
smooth,
a
the
exists that
to-day being
the chorus
Roman and
addition.
sang,
It
was
danced
and here
centred
than
the
stage.
as
Athenian
was
auditorium,
in
a
usual
of
a
throughout
tre thea-
Greece,
case
shaped
hollow
in this hillside,
a
face the
south.
This
auditorium
was
formed
of
tiers seventy-eight
limestone of the of
a
except
where
carved
from tiers
were
solid rock
Acropolis. The
semi-circle with
an
lower
its ends
in the in
shape
prolonged
as
straight
not
lines,like
theatre
was
inverted
U;
but
upper
the
outline of the
were
the irregular,
At
tiers
metrical. sym-
Athens,
seats
as
generally elsewhere,
of marble chairs
the
for
front
row
of
consisted
priestsand
central
one
other
being reserved
main
sus. Dionydivided i
The
by fourteen
about
passage-ways
and of
wedge-shaped
half way
up,
blocks
seats;
laterally,
or
by
wide
passage-way,
udi-|
THE
OPEN-AIR
THEATRE
for lieves be-
was
merely
took
the action
of
place in
His
view
ars. schol-
is
stage
platform
was
between side
the wall
and
the orchestra,
terminated
or
each
by
the
who
thus
were
lifted above
in the
orchestra.
If this
theory
were
is
rect, cor-
doubtless
from
temporary
of flights
to
stairs
built
the
essary nec-
the
logeion to
the orchestra
permit
chorus. of this
to
action been
was
between
the
players
front
and
It has
wall
platform
the
doors
giving access
theatres
was
stage-
buildingfrom
In the
the orchestra.
Greek typically
at
the
high wall
later
two-
hind be-
the ends,
a
ornamented
with
was or
single set
of
columns,
Romans
of
feature
into
an
which
elaborate
developed by
three-storied
the
system
In
columns, entablatures
Greek
and the
and
pediments.
types the
or rear
both
the
Roman
stage wall
was usually a
piercedby three
cated indi-
five
doorways ; and by
entrance
vention, congenerally-understood
from
actor
was
each
to
particular door
be
that
the
imagined
as
coming
CONJECTURAL
FORM OF
RESTORATION
OF
THE
GREEK
THEATRE
AT
EGESTA.
THE
THE
AUDITORIUM
IS
PROBABLY
CORRECT,
THE STAGE INGS BUILD-
BUT
THERE
IS
LITTLE
EVIDENCE
TO
INDICATE
THAT
ARE
AUTHENTIC.
[FROM
j.
H.
STRACK'S
"DAS
ALTGRIECHISCHE
THEATERGEBAUDE"]
GREEK
AND
ROMAN
came figure"
19
on
place: when
door the
at
the
through the
he
came one
the
right,it
was
known
from
immediate
neighborhood,
at
whereas
was
the
so
left
on.
clearlya
of
from from
distance,and
the
These theatre
conventions
situation of the
to
Dionysus with
relation
the
city,the
country features.
The
roads, the
harbor, and
other
topographic
in
proper
height
is
of
the
stage
platform
the
Greek
theatre
*
given by the
ten to
Roman
architect
Vitruvius
as
as
from But
at
twelve
no
feet,and
depth
in
gard re-
ten to
feet.
that
there
is
exact
evidence stages
vary
Athens, and
the
of
other
Greek
to
and
Greek-Roman
theatres
and
from
eight
thirteen
feet in
height
of
in depth. similarly
at
The
the
existingremains they
date
the
stage
no
Athens, with
the ject, sub-
sculpturedfront-wall,throw
as
lighton
of
one
from
the time
of the Roman
reconstructions.
In
were
the
Greek
theatre
the
auditorium
and
the
skene
space
to
in effect two
was
separate
as a
and buildings,
between
the
used
and
gateway,
giving
In
entrance
orchestra
auditorium. the
period, and
*
as especially
Roman
of
Vitruvius7
are
rules
in
for
the
construction
in
an
and
Roman
theatres
quoted
translation
appendix
of this volume.
20
THE
OPEN-AIR
was
THEATRE
to
brought
became
nearer
the Then
auditorium,
in finally,
the gateways
doors.
wall and
the
merged into
vaulted The ruins
other, and
entrance
passage-way. of the
more
theatre
at
Epidaurus
those
in
some
are particulars
of
Athenian
and
as are
structure.
auditorium
is almost
the
orchestra
ring
of the
is
perfectlyindicated, -buildings.The
of
more
the foundations
stage
Dionysus, graceful
of
seats
circle
diameter
of four hundred
and
fifteen feet,the
the
ditorium au-
total
seatingcapacityabout
at
equallingthat of
to
Athens.
In addition
the
row
of
seats
are
of honor
two
rows
at
on
the bottom
of
other
followed
are row
closely
able notseats
type
already described,
At
as a
certain of
variations. honor
thrones
are
Priene
of five
is formed
set
continuous
bench, with
in at various
at
points;
of almost
and
similar thrones
At
found
the theatre
Oropus.
Priene
the
at
altar, which
the
exact
elsewhere of the
invariably stands
on
centre
orchestra, is instead
the
THE
THEATRE
AT
EPIDAURUS.
THIS
IS
THE
BEST
PRESERVED
OF
THE
GREEK
THEATRES.
IT
SHOWS
THE
COMPLETE
ORCHESTRA
CIRCLE,
AND
THE
STAGE
SET
BACK
FROM
THE
AUDITORIUM
IN
TYPICAL
GREEK
STYLE.
22
THE
But from
OPEN-AIR
after the the
THEATRE
first
formance. actor-leader
separation of
and
the
worshipping chorus,
less ceremonial
the drama
more
speedilydeveloped along
human had lines. been In 535
tragedy
state
recognized officially
first dramatic
came
put under
was
authority,the
at
contest
instituted
the
Athens. in 472,
Soon and
tory vic-
By
had The
the
middle
declined
simple,straightforward, playsof this time were little or emotion-compelling dramas, which needed no background to help them hold the interest of the told that as early as the time of audience. We are
Sophocles
used
to
was
scenery
was
used
But
to
cover
up
the
bare
was was
architectural
at
stage-wall.
very
if
paintedscenery
the
all,it was
simple, and
There
only
aim
suggest
no
the proper
at
there
any
ting set-
attempt
of
scene
change
in the
Greek
was
theatre, and
understood
to
the be
of the
action
always
the Roman
outwas
of-doors.
a
Until
period
and
there
never
exits all
being
the
made
in
full
sightof
the
audience.
to
In
addition
were
dramatic for
productions
Greek
at
theatres
used
religious exercises
the the
RUINS
OF
THE
GREEK-ROMAN
THEATRE
AT
SYRACUSE.
NOTABLE
FOR
ITS
IMMENSE
SIZE.
OLD
GREEK
AND
and
ROMAN
23
dithyrambicchoral
and
contests,
harp-players. The
all times.
even were
annual
here, and
at
sorts
of
vaudeville
theatre
was
which
Greeks
;
hotly protested by
is evidence
the
one
and
there
that indicating
/AUDITORIUM
Comparative
sketch
plans
of
Greek
and
Roman
theatres, showing
and
change
in relation
between
auditorium
stage.
time
the lower
in order
a
was
made
tight, water-
the
orchestra
might
be
verted con-
into
lake
for mimic
sea-fights.
from the
no
The
Roman
in two
theatre
differed
Greek
mainly
was
particulars. As importance
down from than
a
longer
the
a chestra or-
of
greater
was
actors,
to
cut
full circle
circle, semiup
and
the
stage
buildings were
a
pushed
singlebuildingof
neces-
composition.
These
changes were
24
THE because
OPEN-AIR
sary
still were
if
they could
the
see
the
chestra or-
now clearly,
must
was
face
to
stage,
to
which
ond sec-
be confined.
The
great change
which
was
was
in the
wall
behind
the stage,
with The
to
as
of columns,
at
one
other.
stage
platform was
on
first made
high, in order
tiers of
seats
was
view
that
of the those
in
and possible,
at
it
narrow
see
looking up
greater
the
it
might always
to
actors
stage
gorgeous
made spectacles
depth
necessary,
with
consequent that
be
of lessening the
not
height.
the
Vitruvius in
a
recommends
height of
over
platform
The
to
Roman
of
on
theatre
invention be built
up
vaulting allowed
level spaces,
the
the
theatres
auditorium
and
bowl
being held
of
by series of walls
arches, instead
a
being
the
shaped in
The Theatre
times the
the hollow
of
hillside. theatre
so
only survivingclassic
of
in Rome,
changed
in later
well
others.
at
Those
at
Orange,
Asia
in Southern
are
France, and
Aspendus,
the
in
Minor,
the
of best-preserved
typically
RUINS
OF
THE
ROMAN
THEATRE
AT
TAORMINA
26
THE
OPEN-AIR
THEATRE invented
certain
means
of
of their theatres,
from
at
the hot
was
southern
nently perma-
sun;
and
theatre
Pompeii
roofed
is
proved
the
by a tablet recentlyfound, which giving of the roof by a wealthy Throughout the development
there
Greek is
a
citizen. of the
away
Roman
noticeable and
tendency
The
from
openness
enclosure
toward
elaboration
very
change
sponds corre-
closelyto
successful
went on,
on
transformation Latin of
was
of
the
dramatic
at
dramatists
best
as
imitators
more
the put
Greeks.
on
Then
scenery
time and
stress
the
less
the
play, and
from
finally spectacle
when the
to
almost drawn
entirely. Then
away
not
the circus
arena,
contests gladiatorial
were
performances
the
brought
Greeks
a
to
the
Closely related
Romans
structure
was
theatre
or near
of the
and
the
"Odeon"
"Odeum,"
smaller
even
are
which with
to
was usually
connected
it
by
of
portico. The
as
referred
and
by classic writers
places for
doubtless
concerts
for rehearsals
plays,and
dramatic
ABOVE
AT
IS
MEASURED
RECONSTRUCTION
OF
THE
ROMAN
THEATRE
ORANGE,
ELABORATE
BELOW.
FRANCE,
SHOWING
THE
TYPICAL
ROOFED
STAGE,
ORNAMENT.
WITH
ITS
BACKGROUND
THE THEATRE AT
OF
ARCHITECTURAL
ORANOF
AS
TT
F.XTSTS
TODAV.
OLD
GREEK
AND
ROMAN in
27
productions were
Some
occasionally staged
insist that the Theatre Odeon of
them.
authorities
of Herodes
Dionysus
at
the
production at the
but others
a
theatre
itself the
was
rupted inter-
by rain;
of
point out
before roof
to
impossibility
times,
roofing such
writer
structure
Roman
cedar
mentioned
by
temporary con-
refers
the
stage-root common
that
may
However
of
be, the
many
assembly-placeoffer
builder the of little Odeon
more
suggestionsfor the
Thus
modern of
the
at
form
the the
Imperial Villa
modern drama
Pausilypon is
than
are
suited
to
of the open
tiers of
a
is that of the in
nearby
theatre.
The
seats
shape
ably considervery
less than
from
also has
at
the
a
traditional
ment. arrange-
notable of
feature
in the
the
top
at
the
auditorium.
little"Ekklesiasterion"
do
with
dramatic
ancient
matters,
is of interest
the
student
is
not
a
of the
theatre, as
tier of
seats
the
torium audi-
circular,each
square.
common some
forming
Roman
the
buildings
are
to
measure
Greek allied
or
which cities,
in
to
the-
28
THE
in
OPEN-AIR
the
THEATRE
atre
form,
are
or
arena,
notable
examples as
the
the
Panathenaic
Athens,
and
Olympian
Maximus
as a
Circus
at
flection re-
of the form
peoples;but they
of
the
had
little influence
art.
on
the
theatre
or
dramatic
was a
The
Panathenaic
at
Stadion least
one
recently
revival of
play
has
been
given there.
in and
have
been
modern
productions
Nimes and
amphitheatresat
After
abandoned
Aries, in France.
alike had been
the drama
to
the theatre
years
the
seems
vulgar, in the
not
to
of the Roman
to
decadence, it
that the
have
occurred
any
one
great
structures
might again
Felix in
be
utilized
in
1869
The
Ripert and
the been had
Antony
Roman
Theatre of ruins
and
to
Orange.
years
stage
cleared
enough
accommodate
of
the
an
by French originaltiers of
average
so
before
archaeologists,
seats
modern
successful few
years
intervals
the
of
to
Mistral,
in
among
exponents
of
open-air drama
the Comedie
Since
latter date
Fran-
THE
SMALLER
THEATRE
DESIGNED AND
AT
THIS OF
IS
ONE ANCIENT
OF
THE THEATRES.
MOST
GRACEFULLY
CHAPTER
III
THE
MODERN
GREEK
THEATRES
OF
theatres,
forms. of
modern
open-air
theatres,
all
that
are
characterized
of
seats,
are
by rising semi-circular
raised stages
and
tiers
rear
with
high
stage-walls,
indiscriminately
modelled
to
on
termed
or on
"Greek"
Roman
whether
It is easy from
Greek
differentiate the
nature two
this
classic and
type the
ture's na-
structure
theatre
are
garden
theatre;
latter and
built
and
of
materials,
whereas
sense.
shrubs
hedges,
in
every
the
Greek
theatre
is architectural
It is curious theatres
that In is
on are
that
be
the found
majority
grouped
of the four
of
in
modern
a
Greek
state
to
single
from
the
opposite
there
are
side
are
world so-called
In
California
and
Greek
rest
others
building.
are
the
of
that
the
proach ap-
United
States the
there
and
only
two
structures
type,
in
Europe
practically
are
all of
the
modern theatre
open-air
type. The
playhouses
reason
of far
the
to
nature-
is
30
not
seek.
In
THE California
MODERN
GREEK
31
ture open-airstruc-
is such that
an
affords roofless
maximum
of usefulness, so
that
a
merely
rather
a
porary tem-
nent perma-
and
most
bit practical
of artistic
there and is
a
equipment.
rainless
or season
In
parts of California
at
of
more
least of
four
months,
are so
four
each
year
generally fair
of
bred and
state
outdoor
producer
conditions.
is
perfect
a race
weather
of
outdoor
open
people, lovers
offers,and
it is
of
not
so
nature
all that
the have
surprisingthat
many
stars.
they
taken
their drama,
under the
like
sun
of their other
out activities,
and
The
most
notable
of the
is the Hearst
Greek
the
sity Univeris
fect per-
of
not,
as
California, in Berkeley.
has
so
This
structure
often
been
said, an
On
and
to
example of
the
to fidelity
a
ancient
type.
contrary, forms.
to
curious
mingling
of modern
of Greek
Roman conform
art,
is also very
traditions
wisely modified
modern
the
dramatic
although
or
is no
provision for
and
realistic scenery
ephemeral
Roman
inartistic
phases
of
of the
contemporary
staging. The
in that
more slightly
general
the
a
form
building is
forms
auditorium
outline
only
than
and semi-circle,
the
orchestra
32
THE
OPEN-AIR
down
THEATRE
circle is
cut
to
very
small
dimensions
are
and
the
low, wide
of such
at
steps
of Roman
the
lower
structures
auditorium
as
typical
purely
the
Pompeii.
or
But
the
absolute
separation
the
"skene,"
stage-building,from
and with the
a
auditorium, is
in the stead in-
purely Greek;
Greek fashion of the
or
stage -wall
is decorated
single series
Roman
of
columns of
over-elaborate
system
double
triple rows.
The orchestra
and
circle it
on
is six the
feet
below
stage
are
level;
twelve
on
above
auditorium above
broad
steps, each
hundred Above
other,
times
which
sixteen
placed
on
of the
a
performance.
stage
at
them, diazoma,
and
a
the
level
of
floor, is the
the from tiers
wide the
aisle
with
the
are
wall
back, which
the of
upper
seats
separates
auditorium. in the
to
"pit"
There
of
theatre nineteen
at
a
upper
portion, rising
the
the
ten
a
upper
section
"wedges"
by eleven
of
on more
aisles
up-and-down.
four
seating capacity
with
those the chairs
than
thousand,
the the diazoma
that and
the often
steps below
which total of
are
placed
or
in
more
orchestra
circle,a
be
six thousand
At
ten
people
can
accommodated.
university assemblies
and
lectures
nearly
thousand
people
occasionally
THE
HEARST
is SEEN
GREEK
THEATRE
ITS PRESENT
AT
BERKELEY.
ABOVE,
BELOW is
THE
THEA-
JTRE
ITECT'S
IN
CONDITION. STRUCTURE
COMPLETED. AS IT
THE
ARCHI-
DRAWING
OF
THE
WILL
APPEAR
WHEN
[JOHN
GALEN
HOWARD,
ARCHITECT]
THE
MODERN
to
GREEK stand
at
33
gather,some
and
being allowed
the
the
entrances
above
highest tier of
seats, and
additional
chairs The
and At
being placed on
stage
the immense
a
stage. floor
one
has building
cement
hundred
back
and
at
each
end
there
rises
massive
wall, more
beautiful
than
with
design of Doric
wall
classic
nice. cor-
This
only by
The total
doorways,
at
entrances
three exits,
at
each its
side.
effect of almost
"skene," with
spaciousness and
is built
severe
present
cement.
the theatre
In
of entirely
concrete
plans to
architect's
ration decothe
finish
sketch
the
structure
buildingshows
the sides of the
further
stage-wallwith bas-relief
at
statues,
addition and
of walls
stage
building,
Roman
the addition
"
of
porticoat
common
the
feature The
so
in
the
finer
at
theatres.
and
seems
theatre
is
so
beautiful
one
present,
not
seen
complete, that
plan
And
never
who
has
the ultimate
not
guesses
that the
structure
a
is
finished.
yet the
and
a
plan
indicates
sense
subtler of grandeur
architectural
beauty
pervading
additions.
34
OPEN-AIR
Greek Theatre
THEATRE
not
was was
built
as
an
curiosity.It archaeological
a
the
outgrowth
before
been
of
very
definite need.
an
For
student
decade had
its
struction con-
annual
play
produced
ture struc-
in the
now
natural
amphitheatre which
all the student
at
a
the
classic
activities had
The theatre
grown outwas
facilities when
hand.
opened
was
in 1903,
three-days'dramatic
and
val festithe
productionin
on
of
Aristophanes' "The
"Twelfth
on
Birds"
the
first
day,
production of
Greet "Phedre" there and has
Night"
the
under
a
the
second, and
on
production of
Since
in French been
a
third. series
every
that
notable
of
season
amateur
productions,
actors
the list of
to
masterpieces that
have
been have
presented and
who
Perhaps
been
by Margaret Anglin
uElectra." which
a
Sophocles'
of the umphed triof
formity con-
"Antigone"
Miss
franklythe
stage
and
the
of
curtain
to
imposed;
she
the the
stage, instead
bring
Adams
setting into
considered
with
what
is
commonly
stage
art.
When
Maude
produced
36
been also
THE
OPEN-AIR
number of French
THEATRE
and
German
plays,
tions produc-
dramatic
festivals,students'
amateur
class
plays, and
by outside
and the
range
Altogether
has been
presented
tionately propormunity com-
remarkably wide,
valuable
and in
and
teaching
much
of
university
more
the
than
public how
the
there in the
is to
mercial com-
dramatic
art
types
play
seen
theatres. The
or
first of
the
California
was
of the
the
Greek
architectural
type
built
of Madame International
Katherine
Tingley
grounds
at
Theosophical
Headquarters
an
Loma,
in
1901. the
an
Following, perhaps,
Greek
over
old
that built
was
ocean.
ancient
theatres
were
purposely
auditorium the
open
with
outlook
out
are
the
sea,
the
hollowed There
of
hillside
facing
eleven
semi-circular
tiers of seats,
accommodating
from these of the its floor
twenty-five hundred
spectators
look
across
people,
the
and
stage, with
chaste little that
tessellated Greek
pavement,
to
temple
to
in pure
architecture, and
and the
at
a
beyond
waters
the
deep
The
blue
sky
deep
the
blue
of the
a
Pacific.
tous
stage
stands which
head
of
precipL.
ing allow-
canyon,
through
to
path winds
temple
does
unseen
up,
the
players
reach the
the
by
the
audience.
Although
theatre
not
conform
THE VIEW
GREEK SUGGESTS
THEATRE THE
AT BEAUTY
POINT OF
LOMA,
THE BY
THE THE
LOWER PACIFIC.
[PHOTOGRAPHS
COPYRIGHT
KATHERINE
TINGLEY!
THE
Greek ideas
MODERN of
GREEK
37
to
to
remarkable considered
Greece
ever
degree
Greek. had
a
beauty
no
that
is
customarily
in ancient
a more
Certainly
greater
As it
one
theatre
loveliness, or
comes
background. idyllic
above
to to
it
on
its like
pice precisome
the white
sea,
seems
nestle
gleaming
jewel
in
setting fashioned
with
perfect artistry.
The
plays by
the
at
the
theatre, too,
have
of
been the of
ated permeearliest
Greek
was
spirit.
the
One
dramas
presented
Madame
"Eumenides"
had earlier
^Eschyin
lus, which
New
less York.
Tingley
the
texts
revived
Recently
upon
productions have
of the Greek
been
dependent
in effect
the
authors,
with
up
a
being
modern
compositions informed
there
art
the antique
what is in
spirit. Indeed,
some sense a
has
grown
here
new
more
form,
sort
of
the
drama of and
that
is
dependent
upon
beauty
costumes, upon
natural
incidental
setting,grouping
poetry,
than upon
sonally per-
dancing,
sustained
appeal.
Madame in of the
Tingley
productions
her ideal
theatre; and
art at
she
is
carrying
the
by
the
clothing
same
so
action
in
the will
shaping
whole
of
story
a
in
some
spiritual
revelation.
Several
critics have
testified
3 8
THE
OPEN-AIR
THEATRE
and
to
the
symbolic effectiveness
"The the Aroma
unique decorative
the first
qualityof
at
of Athens,"
tion producAnd
which
one
admitted. has
every
on
who
has
theatre
remarked
the
At
beauty idyllic
Cranbrook,
near
of the
stage
background.
of
one
the
country
estate
Mr. of
George
the
most
G.
Booth,
Detroit, Michigan,
modern is Greek theatres several from
beautiful
The
of
has
ways.
been The
built.
structure
unique in
well
back
low
auditorium
an
is
set
the The
stage,
raised
leaving
stage
may is be At ings buildtimes
unusually large by
two
orchestra.
temple-like structures,
or
which
for
rear
dressing-rooms
of the
for
the
musicians.
two
stage, the
three if the
wall wide
joining the
entrances.
is of
pierced by
At
an
performances,
the
play
are
demands curtained
atmosphere,
can
openings
obtain
and
then
those small
subtler
characteristic
of the the
garden
can
theatre
At the
will, however,
audience
a
curtains
be the
removed,
then formal On
more
looks
through
to
a
openings,
stage
across
long
rear.
pool,
this
second
building
can
at
the
director
scenes,
duce pro-
the
extensive, pageant-like
upon
which of
depend
actors, When
moving
masses
distant
was
processionals.
dedicated,
in
Cranbrook
Theatre
THE SHOWS
GREEK THE
THEATRE
AT INNER
CRANBROOK, STAGE,
WITH
MICHIGAN. ITS
POOL AND
THIS
VIEW LOGGIA.
UNIQUE
40
THE
OPEN-AIR
In the first
THEATRE
structural
detail.
of
place, it is built
out
on
the
flat,instead
was
being
hollowed and
of
hillside,as
and The
the
Greek
are
fashion;
in
a
the
"skene"
joined
forms
single building.
a
too,
only
as
semi-circle, and
custom seats
close
to
the
stage,
The
was
the of
Roman
terrace
theatres. above
three
tiers
accommodate
an
only
few
hundred
spectators,
although
The
upper
auditorium
a
could
easilybe added.
Roman
structure
an
is in effect almost
miniature
theatre,
modern
sense
occupying
open-air
structures.
of
sense
majesty, through
of
its smallness,
can
gains
in the
a
intimacy.
One
hardly
imagine
and
so
more
charming
for
too
setting for
amateur
poetic drama,
that
especially
often theatre
are
those
performances
the and
on
slight to
theatre
proper
a
dominate
large Greek
yet
a are
or
stages,
very
effective stage
in
atmosphere
miniature The
and in
miniature
at
auditorium.
openings
stage-wall
be filled of
the
shrubs
architect the
by
the
hedges,
form
only
drawback the
extent
acoustics.
by hanging heavy
This
curtains
during
is
the
times
of
performance.
little theatre
owned
by
THE
MODERN
GREEK
musical
41
the
city,and
and
is used
by schools,
dramatic
tions, organiza-
amateur
societies. Pomona
The mont,
open-air
theatre
an
at
College,
Clarein
California, is
the auditorium
interestinghybrid
is of the classic of
form
which
architectural
nature
with
The
stage
background
the
auditorium
is modelled
at
after
that
Hearst
Greek
Theatre
of
Berkeley, having
arrangement for
sunken
on
orchestra-circle, low
the level of the
steps
chairs, diazoma
more
stage
above.
floor, and
The
are one
seats
noticeable
is that
tunnel
entrances
brought through
of the old
Roman
the
seats,
the
ner man-
The
floor is
no
front
is has
concrete
wall, but
for
the
ground
simply
The
been
levelled, and
is
there
a
stage-wall.
background
trees
simply
park-likelandscape with
pageants
and
masques
over
lawn,
the
and
shrubs.
of
For
advantages
one
this natural
at
background
Greek
the
are
architectural
the
more
Hearst
Theatre
sorts
evident; but
that
the and demand
for
the
dramatic
of
of
play,
for
concentration
various
similar
lectures, academic
activities for
the
concerts,
which
structure
college theatre
at
is is
continually utilized,
Berkeley
incomparably
The Pomona
better. theatre
would
seem
to
be
perfectly
42
THE
OPEN-AIR
of
THEATRE which
icans Amer-
fitted
to
that
sort
dramatic
masque
Wood
Stevens, Kenneth
Lindon that Smith
Sawyer
done
a so
and
Joseph
a
have
develop,
of
form
demands
to
flexible the is
background
great
natural
of
beauty,
the Greek
which
"skene"
wall
But
anything approaching
close of
sive inten-
and
anything demanding
and
sequence
on
attention
the
spoken word
incident, would
stage,
the
eye
lose
half
its effectiveness is
no sense
the
Pomona and
cause beis
to
there
of wander
intimacy,
from
at
continually invited
the beautiful of that both this
no
to
the the
fore-stage
A
bits of
landscape
back. the
study
theatre
greatly strengthens
can
impression
house
open-air playhouse
very
adequately
the
the
dramatic and
play
and
pageant,
the
both
Greek
must
tragedy
choose
and
American kind
masque;
builders
to
the then
general
build for
of
production
be
given,
For
that.*
a
Garfield
Park, Chicago,
theatre
has
been
planned
*
for specifically
this book
which
was
pageant-like productions,
I have
a seems
Since
St.
written
visited
Forest
Park
an
Theatre
at
Louis,
also
The
combines stage
nature
stage
with
auditorium.
well-equipped
But
me
for
as
spectacular
truth in any that
entertainment.
struck
most
I
was
forcibly
a
theatre
prepare
is
to
be
degree
The
architectural,
at
or
real
Park
architect
appears
should
to
the
laid
have is
a
been
design. out by
and
auditorium
Forest
an
engineer
and
"
It
thing
of
concrete
steps
iron
architectural
beauty,
altogether
ABOVE,
THE
STAGE
OF
THE
GREEK
THEATRE
AT
POMONA,
ARCHITECTURAL
NIA. CALIFOR-
HERE
AN
AUDITORIUM
OF
THE
CLASSIC
TYPE
IS
COMBINED
WITH
NATURE-THEATRE
STAGE.
BELOW,
THIS IS A
JTHE
FREE
GREEK
THEATRE
AT
BAKERSFIELD,
ROMAN RATHER
CALIFORNIA.
ADAPTATION
OF
THAN
GREEK
FORMS.
[LEWIS
p.
HOBART,
ARCHITECT]
THE
MODERN
theatre
GREEK it is to
43
and
like the
Pomona here
have
no
rear
stage-wall. But
two pillars,
on
the
stage
a
is framed formal
on
by high
touch
centre
each
side, giving
and of
serving
the used
to
concentrate
sight
lines
the
stage.
These
pillars,too,
at
shield
lights to
be
during performances
theatre
to
night.
in pure classic
at
Another
of
great
in
one
size, but
of the
style, is
be
built
parks
for
Los
The
plans
call
the
auditorium
seating ten
an
spectators, with
to seat
provision for
more.
eventual The
Greek
thirty thousand
to
will be
and
similar
that
of the
Hearst Ionic
will be
decorated
two
with
columns, but
feet
stage
feet
floor will be
hundred
long
and
fifty
deep.
the modern in
Of
of
most
design
is the Arena curious
arena
interesting
is
a
Goldoni
of
theatre
an
arena
and
the
a
is like
the
half
seats.
of
with
is open
raised
at
opposite
but
The The
a
stage
floor
the
front,
the
is roofed.
itself in
at
level
narrower
below
is
the
of lack the
to
stage,
the of
pure
arena
sense,
indicate
a
open-air
decorative
theatre values.
Anoka,
If
a
Minnesota,
theatre is
to
depart
be the
at
nature-theatre that
to
add
legitimate
endow all
the
designer
with
should which
competent architect is
supposed
44
THE
OPEN-AIR
THEATRE
A B
C D
E
ENTRANCE
HALL
M
N O P
PHOTOGR*
STA(3e
ROOM
ANTEROOM
ARENA
MECHANICS
CGYRTYARD
SHOP
SCALJNATA
LOGGIA GALLERY
Q
ROOMS ROOMS
PASSAGES
HOSTAGE
S T
U STVDIO
DOOR.
G
H I J
OFFICE
VWXY"
STORE BOOMS
"
""
ROOMS
^,
Plan
of
the
Arena and
Goldoni,
auditorium.
theatre
showing
This is combined
the is
stage, "arena,"
in which and
can
an
"
open-air
the
American
"experimental
theatre"
groups
46
ous
THE
OPEN-AIR
there
at
than
for dignified,
are
of
official intervention
the Arena and
certain
gatherings.
hands of that
Recently
Gordon the
has his
passed
Craig
for
associates, and
of the and
it is here of he
School
the
so
Art
Theatre,
which
which
Craig
so
dreamed
has be
lovingly
planned
Nowhere
long,
there the
finally been
found of
an
established.
more
atmosphere
inspiring
than in
work
dramatic
experimenters
that of
charming
of
open-air
the
structure
still retains
convent
something
Similar
cloistered
silence the
days.
tury cen-
theatres
built
in
during
nineteenth
may
exist elsewhere
been them Goldoni the into is
Italy,but whatever
of of for dramatic them
art
have called
Arena
development being,
now
none
that
except
the
notable
The
only
modern
European
traditions the
that
follows in
closelythe England.
more
Greek Here
a
is that
Bradfield
auditorium
the
forms
considerably
pit is
after
a
than
and half-circle,
an
orchestra centre, is in
an
complete
Greek
circle with
the
fashion. of
The
Greek in the
building
but
ingenious
form The that
arrangement has
no
motives,
classic
parallel
a
theatres.
stage
is in effect
covered
porch, with
and
the
exits.
five
doorways
for much
entrances
building loses
of
the
dignity and
spacious-
CORNER
OF
THE
ARENA
GOLDONI,
FROM
THE
AT
FLORENCE,
ITALY,
AS
SEEN
STAGE.
THE
MODERN
GREEK
47
ness
porch
to
would
doubtless
the
more
to
frame of the
the
action
and better
trate concen-
interest Greek
audience The
than is
the
rounded sur-
open
stage.
of of
whole
theatre
not
by
the
masses sense
foliage, which
but
add
only
crease inthe
shelter
greatly to
have who
in
beauty
The the
of
the
place. productions
at
finest
the
theatre
classic
the
revivals
way
to
by Granville
so
Barker,
innovations
pointed
many
English theatre.
field
Each
year
the
students
of
Bradone
College produce
in the
original tongue
;
a
of
the
masterpieces of Greek
of each,
drama
and week
the
in
five performances
given during
all parts
June,
are
attended
by people from
which
is of
of
England.
seats
auditorium,
but
concrete,
two
only
about
fourteen
the
"
hundred Tickets
that
may
spectators
are
have
sold
clear
view
poorer
of
stage.
a
not
mended com-
for the
to
seats
fact
be
the
usual
commercial The
managers
thoughtful consideration.
sometimes it At
was
Bradfield
theatre
known
as
the
out
"Chalk-cliff of
an
Theatre,"
hollowed
old
is
a
chalk-pit.
"arenaatre the-
so-called
of the
partly
Greek
partly
of
the
Roman
amphitheatre, which
out-door
larger than
any
other
modern
playhouse
48
THE
OPEN-AIR
THEATRE the
is
(barring such
Louis
temporary
arrangements
But the
up
structure
as
St.
pageant
and
theatre).
it has been
only
of wood, and of
opera,
given
and
to chiefly spectacle
with
elaborate
atrocious
imitations
indoor-stage settings.
Of modern
structures
modelled
after
the
ancient there
stadion, circus
are
and
as
amphitheatre
the
many,
bull-rings of
the do
the
these
art.
athletic
throughout
very
world;
with
but
buildings
At the
little to in
Harvard have
Stadium
Cambridge
as
ductions pro-
been
the
staged,
of
well
as
Yale
Bowl of
were
are so
and
at
stadion
the the
College
City
New
York.
But acoustic
a
while
spectacular effects
of the
at
fine,the
poor
was an
properties
deal of
the
true
structures
that lost.
annual
great
In the
element
stadion
Tacoma,
is
a
dramatic is made
festival rather
held,
pageant
than
play.
Of the
contemporary
as
Italian
outdoor
theatres,
or
"arenas"
are
they
are
often
termed,
practically
as
all
negligible both
to
and architecturally
tributing con-
dramatic the
art.
Many
roofs
are
simply
indoor
theatres
that
are
with
auditorium
over
lifted,with
stages
given
to
every
sophisticated device
and
that
modern
"scenic
artists"
modern
chorus-
THE
ORCHESTRA
AT
AND
STAGE
OF
THE
ENGLAND.
GREEK
THEATRE
BRADFIELD,
5o
THE
OPEN-AIR
THEATRE
that of
is
built
here the
against
find
background
finest of
of
large
masses
actors,
their
expression.
form is
Because than
theatre
classic
thus of
better
fitted
any
other
finer
to
house
of
certain
sorts
drama,
hall
and has
because been
no
form
open-air
lectures
assembly
and
concerts
ever
invented
for
the
and
meetings,
will
doubtless
Greek
or
Roman
house playon
continue
to
increase
in
numbers
sity univerAmerica
campuses
and
in
public
world.
parks,
both
in
and
in
the
rest
of
the
CHAPTER
IV
THE
MEDIAEVAL
RELIGIOUS
THEATRE
AND
ITS
SURVIVALS
AFTER
of
of the the drama
the
decay
world for
many
of
was
the
Roman barren
theatre,
of The of
an
the
Western
dramatic
rebirth incident
activity
came
centuries. elaboration
in the
church century.
this but
service,
The
probably
middle of
in the
the
tenth
or
eleventh
saw
thirteenth in
tury cen-
activity
still
purely fifty
liturgical
acter; charthe
the
of
following
the
years
witnessed which
the
open;
development
made its
way
Mystery
the
Play,
into
quickly
and
out
of the
church
by
the of
middle
the
was
of
fourteenth
century
from
drama
the the
was
tion separa-
dramatic
production
and outdoor
church
service
complete,
as an
firmly religious
established
independent
expression
of
feeling.
The
first
on
productions
church steps.
out-of-doors
probably
the
were
given
was
the
Although might
have for
auditorium
no
not
all the
audience could
be
desired,
finer
outdoor
stage
imagined
5i
religious plays.
52
THE
OPEN-AIR
church
THEATRE
The
towering
fagade
as
background
less doubt-
intensified the
of the
dignity and
the
spiritualeffectiveness drifting
must out
to
production;
from the
music
audience
church
and he
itself
have
God
was
strangely appealing;
more
doubtless
came
on
convincing when
church
on
the the
as
stage
form
a
through
of this for in the
on
the
Probably
steps that
erected the
it
was
stage
the
open
served
model
or
platforms
square,
against houses
with
people crowding
around
sides.
church,
crept the
soon
gave
way
to
Miracle stories
gradually
saints, and
phal apocry-
legends
more
of
was
characterized
often
by
very
human time
to
feeling than
when
time there form the
by religiousfervor. Play
Miracle left
From
Mystery
the
the
church
became
the
when
stage
set
type,
evidence
regarding
the
detailed it
went to
mediaeval
theatre.
Doubtless
through
have
seems
a
been
wood,
and
to
down is in
extant
as
soon
the
"season"
a
was
done.
There
at to
description of
had
an
theatre
built similar
Autun those
1516, by
which
auditorium
built
THE the
were
RELIGIOUS
the writer remarks
that there his
53 there is
ments. statea
Romans;
seats
as
eighty thousand
as
people,
of
a
reasonable
to
the
accuracy of old
There
is
also
evidence
in the
sort
that
Mystery Bourges.
mediaeval Of
the
at on,
was
produced
But the is
on
amphitheatre
of
at
the
theatre
thing
the
of
conjecture.
were
stages
least
which the
end
Miracles
from is
set
more
of the
fourteenth
In
there
took
a
knowledge.
France
a
these few
stages
feet, and
various
having
the
from
back
representations of the
the
were
"localities"
to
which
characters
to
were
supposed
the boxes
or
come,
or
which
they
these
occupy
were
ing durlike
action.
Generally
localities
booths, built
with
either
directly on
to
the
stage
the
case
floor,or
common
only a
or as
few
a
steps
second raised the
above
level;
actors
the
were
the the
stage Miracle
into
of
audience.
as
of
Plays called
for
many
twenty-four
the ities localto
localities.
were
decorated
to
one
on.
indicate
characters
which
one
they belonged,
for
at
being for
Virgin Mary,
two
God,
the
and
so
Invariably the
Paradise of
a
ities local-
ends
represented
in the
and
Hell, the
latter
usuallybeing
shape
dragon's mouth.
54 The
THE
OPEN-AIR
THEATRE
of
well-known
engraving
Valenciennes elaborate Hell
the
setting for
shows
a
the
Passion stage
curve
Play
with
at
at
in 1547 series of
raised in
a
an
localities
the
back.
is formed and
by
the
the
mouth
of
gatory Pur-
ferocious-looking dragon,
is
adjoining
emitting
very
realistic
flames.
Stage
of the
Passion
Play
theatre
at
Valenciennes,
154.7.
In in
England
the
system
of
cycles,each
or
guild being
led
to
with movable
the
certain instead
incident of
scene,
the
The "The
of
stationary stages.
the
guild of
Last
as
bakers,
Supper," could
the
barbers
senting pre-
stage-car
of
"The
one
Baptism
Jesus."
do
And
although
fishmongers
"The be
stage their
arrangement
"Flood" the and
might
the
for the
with
shipwrights with
different
Building of
Ark,"
something
would
THE demanded
"The
MEDLEVAL
RELIGIOUS
55
by
the
cooks
"
who
were
entrusted
Harrying
of
of Hell"
because
"they
fire."
to
were
habit
taking things
a
out
of the
Thus
suit the its
stage-on-wheels
of
the
cycle. When
open space
day
of the first
was
where
the
or
to
presented
which
the
was
wheeled
"pageant-car,"on
performed;
next
first incident
one
act to
that
finished, car
car
went
on
the
so
"station," and
until
to
two
took of formed
cars
its
place,
"
and
on,
the
whole
series
had
(varying
the
from each
three
one
twenty-four)
the
cars
stage
at
of The
several varied
be
as
stations.
widely
elaborate
in form
as
and
appointments. stationary
stories, and
"
None
could
but of
the
French
two
stages,
many
often
them
a
they
showed
were
built in several
localities
now
"Hellbefore.
were
mouth"
Some
open
being
were
characteristic
and
on
feature
as
curtained
roofed,
sides.
while
At
others
some
at
the
top and
three
were
of the
an
stations middle
was
auxiliary stages
space
built, with
of the
were
cars
open
into
which
each
in
turn
drawn.
Similar
pageant-cars
had
wrote
utilized
use
in
they
Vega
gone
out
of
in
land. Eng-
Lope designed
for of
de
four
hundred
"scenes,"
the
cessions pro-
production out-of-doors
the
during
These
Bloody
Sacrament
produc-
56 tions
were
THE
OPEN-AIR forbidden
are
THEATRE
in
Spain in 1765.
of
the
But
even
to-day
there
survivals
and
pageant-car
play
in parts
as
of
Spain,
Holy
a
in such
at
religiousprocessions
that In
of the
Blood
Bruges.
of
Cornwall
in the form
special type
time of
a
open-air
theatre
developed
was
of
the
Miracle
Plays.
This
in the
our
low
amphitheatre, somewhat
fields,with
banks ruins of
a
like of
present-day
built "field"
on
athletic
few
tiers
seats
heaped-up earthen
or
the
or
"stage."
as
The
they
are
sometimes the
at
called, are
best St.
found and
one
at
places in Cornwall,
best
known,
preserved, being
Norris, in "The
the 126
structure
Just, near
Cornish "It
Penwith.
Edwin describes
exact
Ancient
as
Drama,"
was
an
follows:
the
area
circle of
of the
dicular perpen-
height
now seven
bank,
the feet
within,
bottom
more.
height from
at
the
of
ditch
seats
one
present,
formerly
inches
of
of
six steps,
one on
wide
high, with
is of about
all,where
The
. . .
the
rampart
are
seven
wide.
of
benches and
stone."
Of
methods Miracle is
no
tion producwere
the
to
when settings,
Plays
authentic
brought
the
"rounds,"
dence. evi-
It
was
not
far
jump
from
the
pageant-car
to
the
Contemporary diagram of
Dutch
sketch
the Swan
of
an
Elizabethan in
theatre.
This
was
is made
Theatre
London,
and
rough by a
trates, illusspeare's Shake-
second-hand scholar, probably from nevertheless, the typical form of the time.
evidence.
It
playhouse
in
THE
MEDIEVAL
RELIGIOUS
59 is uncertain.
no
period
But
of
before
great
poet-dramatist's death,
had of
most
doubt, the
typical playhouse
of the
of
the
acteristic charvery
indoor
and
stage
freedom from
to-day, and
and the
openness
airiness had
that of the
"
persisted
time
Already
everything
death the
pointed
breath
indoors of
with
Shakespeare's
went out
the
out-
of-doors
of
English
drama.
Among
no.
the of
open-air theatres
the modern either
no
of
or
to-day there
is
survival The
demand
Renaissance
and
the
modern
walls
carefully roofed
and
no
over,
so
that
nuance
meaning
subtle
facial
"
expression may
there the is
no
lost, or
the
and
place for
or
type.
is
one
But
very
of
Mystery
Miracle
a
close
parallel, and
Passion
very
notable
the
Ober-Ammergau
Most
Passion of the
Play Theatre.
about it is the
not
a a
writers
Ober-Ammergau
survival of the
Play
insist that
mediaeval
and
religious drama,
that
but the
separate
series the
growth;
of
ductions pro-
it is well-known
goes
current
back
only
to
1633, when
from
a
people
vowed
year.
of the
to
village,for
the
deliverance of
to
plague,
tenth
present
Passion claim
Jesus
have
every
Others, however,
found
evidence
of
60 earlier need
not
THE
OPEN-AIR
THEATRE
this
dramatic
be
activity of
But
one
sort.
The
studied
point
the
debated. need
who
the
has
mediaeval
theatre
or
stage
to
only
see
Ober-Ammergau
it is survival
be
convinced
that, whether
Miracle
Play
is
type.
the most
several
"localities" features.
strikingof
one
the characteristic
For
here
a
on
side
of the
stage
on
are
Annas'
palace and
side
a
street
in
Jerusalem,
house,
and
the
the
other
centre
street
tained cur-
and
Pilate's
while
arch
in behind
is the the
proscenium
are
which
tableaus
presented.
a
The
general
above
the
form
of the and
few
feet
ground,
is
architectural the
background,
remarkably
typical mediaeval
necessary
to
stage.
the every
to
describe
out
play here.
corner
Its
the tion relaOne
already
But
gone
to
of
the
world.
it is worth
while
the
consider
between
wonders
so
the
play
this that
and
outdoor that
a
setting.
so
whether
drama is such of
is
simple and
sion expres-
spontaneous
the
religious faith
on a
people, could
The the
be
adequately given
spirit of
and the it is
so
stage.
whole
much
and
a
spirit of
mountains
open-air,
sky
are
overhead
so
in the background
much
any
part
of the
atmosphere
be
not
of the
action, that
other
setting would
only
THE
STAGE
OF
THE
PASSION
PLAY
THEATRE
AT
OBER-AMMERGAU.
THE
MEDIEVAL
RELIGIOUS
the entire
61
to
tiveness effecthat
play.
The
spiritof
reverence
whole
production, the
solemn be lost
unaffected
sense
ness earnest-
the villagers,
of
religious
were
worship
taken
all these
would
modern
if the
stage
indoors
to
in the
fashion.
Unthinking
that
was
visitors rained
no
Ober-Ammergau,
the
complaining
and that
it
during
"
performance play
were
there
shelter,
them
"
as
if the
designed primarily
for
brought
the
about
the
roofing
of 1900.
of
the
It
torium audi-
for
one
performance
how
compels
theatre its first exists forces
to
realize
the
makes and
outward
of
the
audience
that
dominating
art
or
The
the other such
an
drama
for of
religion or
great
moving
life survives
as
only in
this
one
productions
in
tain moun-
village.
was
And
even
here
partial
seats
"
concession it
made,
to
in the
covering of the
the
although
is
be
hoped
that
their
open
stage.
at
The
theatre
Ober-Ammergau
feet
is
140
comparatively
wide;
the the
large, being
total
are
250
long by
about
feet and
seating capacity is
of wood. At
4500,
benches is the
The
ends
next to
extreme
stage stage
streets
depth
are
sixty
two
feet.
the
of
the
"palaces,"and
these the
of
Jerusalem;
62
THE
OPEN-AIR
is the
THEATRE
and the
in the tableaus
centre
are
curtained The
inner
stage
where
presented.
in these
painted
ern mod-
back-drops
note
used
tableaus
staging.
modern
at
or
Of notable the
ones
the
as
Passion
Plays
as
none
is
so
Ober-Ammergau,
the theatre. The
regards
most
either
production
are
important
found
in the That
to
villages of
Southern
a
Germany
bruck InnsOberThe
and
the
Tyrol.
given
a
at
village near
of
as
is said
be
worthy
and is
rival
the old. is
a
Ammergau
Passion
production, Play
at
quite
Selzach, in Switzerland,
is
not
imitation, and
and
to
yet
characterized tradition
by
has
reverence
which
imparted
the
Ober-Ammergau
might
go
villagers.
afield and in the find
One
the
farther
parallelsto
tivals fes-
mediaeval of other
religious drama
Christian that
devotional
countries, and
are
especiallyin
and there
the
nativity plays
the
acted
here In
throughout
Western
are
world.
processionals and
like those The of the
episodes
modern
that
are
strangely
church.
ceremonial But
religious drama
of of
Thibet,
drama
most
Japan
these
typical examples.
find their
little
to
although
natural about
setting out-of-doors,
there
record
open-air
theatres
built
CHAPTER
THE
NATURE
THEATRE
OF
It is the in
to
all
nature
the
types
of
is
open-air
the
one
theatre,
that has
the the
theatre of
to
maximum
closest
openness
and of the
natural
beauty.
and
the
heart her
out-of-doors,
most
it the
brings
art.
loveliness
effectively
Unlike theatre
Greek has
no
and
masonry
Roman bowl
theatres,
or
the
ture na-
architectural
it has
no
stage.
or
Unlike
the
garden
theatre,
golas, per-
clipped
While
hedge
it
"wings"
is
or
walled
to
stage
platform.
of theatre
usually
cleared
shaped
stage
and
semblance
form,
man's
with
manipulation
Nature the is
one uses
still
is
disguised
and The
far
as
possible.
to
is of
trees
trained dramatic
and
subtly
art.
spicuously incon-
usual
some
background
of
of
shrubs,
stages
though
the
most
inspiring
sea
nature
have
vistas
of
mountain,
brooks and
and lakes
valley;
and form
sometimes
rivers,
the
actually
part
of
stage
equipment.
64
THE Of
most
NATURE
THEATRE
theatres the
65
one
the
European
nature
that
one
is
important
most
in dramatic
achievement, and
the Harz
at
of
the
is interestingstructurally,
(Das
Harzer
Bergtheater) Germany.
one
Mountains,
Ernst
It
was
by
Dr.
Wachler,
movement
of the
in of
pioneers
open-air
turned
not
theatre
to to
Europe.
drama
Dr. out-of-
Wachler
doors
the
escape
production
the
only
of
artificial
trapperies and
the definite of
a
the
indoor
of
contributing to
drama. had and
development
than
the
a
national
More
out
century
fore, be-
Klopstock
such than
a
pointed
Goethe
of possibilities showed
more
venture,
passing
interest
in the
to
But
it remained
twentieth
century
an
German
of
open-air plays
each
offering
with the
extended avowed
series
purpose
a
of
expressing
national
art.
ideals and
contributing to
purely national
The of
Germans
French drama
long have
and and Italian in the The
chafed
ideals
under in the
the
world's
of
accepted form
Southern
ideal
theatre
"
and
art
was
with
of
reason.
in dramatic and
entirelysophisticated sort
itself
play,
that
would
lend
easily to
combination
with
"social"
functions;
66
THE
OPEN-AIR
THEATRE
and
the
Italian-French
divided the
theatre, with
house into for the
its horse-shoe of
shape
and
that
sections
good
bad
seats,
with
with
was
and
be-gilded
a
be-spangled
house
Professor of the
ornamentation,
art
of
should
not
be.
last
Littmann, Germans,
based
Professor
Kaufmann,
a
others
theatre
have
on
developed
the Greek
form
ing, build-
semi-circular
pattern,
which is
an
boxes, and
dignified in decoration,
and
on
perfect fitness
the
to
use
French-Italian
type
in
and
to
have
attempted
displace the
artificial drama
beautiful.
an
by
The
similarly simple
Mountain of
Harz number
to
a
Theatre
has
presented
unusual
plays by contemporary
extent
dramatists,
dealing
and
great
with
more
Teutonic than
mythology
five hundred
way
to
German
life; and
have
a
the least
performances development
The of
at
pointed the
and
the drama.
new
sort
of national
folk
and
Greek
have
were
been
the
revived great
works
masters
studied, since
of outdoor Sachs
the
drama;
have
been have the
naturally the
to
of
Hans German
brought back
had
new
life; and
the
their
place.
dramas
But, important
may
as
folk
have
been
from
German
TWO
VIEWS
OF
THE
HARZ
MOUNTAIN
THEATRE.
THE
NATURE
is
THEATRE that
Dream" theatre's
67
speare's Shakehas
ductions. pro-
standpoint,
"A
it
interesting to
note
Midsummer
most
Night's
of all the
proved
the
popular
The is
on a
auditorium
mountain
of
the
Harz
an
Mountain
Theatre
over
side, with
ranges
inspiringoutlook
hills. The
stone seats
valleys and
benches
one on
of
are
roughly shaped
spectators
is
can
terraces.
dated. accommo-
thousand stage
be
The
merely
at
one
large levelled
end, and
the
a
space,
with
trees
jagged boulders
here and there.
few
is
actors
a
All
along
to
back
prevent
over
the the
taking
too
realistic
plunge
precipitous
cliffbelow.
The
open-air
at
next
Hertenstein,
in
near
Lucerne,
that It
was
Switzerland,
among
importance
of
to
at
Thale,
nature
theatres Rudolf
Europe.
who
duction pro-
established had
by
Lorenz,
dramatic three the
already had
and
with
At
two
or
theatres. less
Hertenstein less
been
original,and
of
a
important
body
Mountain
of national Theatre.
drama,
But In
the the
Harz
revivals first
two
of
classics have
of
been
far
finer.
years
the
theatre's
existence
noted
68
THE
OPEN-AIR
in old in Greek
THEATRE
actors
appeared
and
dramas,
in and
plays by
even
Hebbel,
Shakespeare,
as
in
of such
moderns
Ibsen
and the
Hauptmann.
achievement
but
"
pronounced
artistic
a
distinct has
success;
cially finanmore,
a
proved
failure
due
to
perhaps,
of
its
comparative
drama.
isolation
than
lack
interest
in serious
Hertenstein
auditorium is
theatre
is
especially
comparatively large,
seats
ranged ar-
of
wide
is
a
arc.
Between
bank
a
the
stage
and
auditorium
sloping
that
fectual ef-
illusion
by
making
and is
distinct
the
over
between
of the feet
the
plane of
The
action
real
one
spectators.
stage
wide, and
On the
depth is nearly
structed con-
eighty feet.
to
stage
proper
not
buildings were
and the exits
provide
entrances
for
ting: set-
those
plays which
in the
would
a
fit into
or
natural
centre,
temple,
at
palace-front, in
a
massive
tower
trees ;
classic and
at
style;
a
the
right
three-storied
the left
porch-like structure.
attractiveness
trees
Large
the
add the
greatly to background
the has whole
many
the is of
of
stage,
and
and
shrubs.
is
set
Although
wood,
and
composition
of the
in
natural
of the
characteristics
NATURE the
a
THEATRE
69
of
nature
on
type,
existence
the
with
buildings
the
scientiously con-
the
challenges
natural
comparison
nature
American
theatres.
In and
the
playhouses
and
a
at
Peterborough,
the Bohemian of
and
Meriden,
Madison,
there and is
in
Theatre,
careful
avoidance
especially of
in the
the
formal
structures
stage
background.
been
to
In America
the
prime
wild the
as
consideration
has
a
keep
theatre
use
possible,with
of nature.
consequent
of
beauties in the
Perhaps
theatre the has
long
ing trainan
impossible
of
absolute indoor
the
to
stage,
perhaps beauty
to
they prefer
in
to
sacrifice natural
the
convenience
have failed
European
of
nature
directors
to
the
full.
outdoor of
scenery
playhouses show
indoor
art
"
concessions
even
the
dards stan-
incongruous
its way into
painted
the
open.
occasionally finding
nature
At
the
theatre is
even
at
Potsdam,
more
Germany,
than
the
at
artificial element
pronounced
Hertenstein,
most
large permanent
background.
pure
nature
building forming
The theatre de la is the
most
of the of
stage the
is the
satisfying
on
example
Continent
type
the
at
"Theatre
Nature,"
Cauterets
in France.
Not
only
construction
7o
THE
OPEN-AIR
THEATRE
of natural entirely
wholesomely
In the
independent
in the
stage
accessories.
near
Klampenborg
have been
Copenhagen,
a
productions
artificial
the hand of the
minimum
"scenery"
of
man
in
is
only too
The the
in the
construction about
stage
itself.
stage level
eight feet
and
a
above
lowest
auditorium,
it
at
wooden
In
to
retaining wall
wall
are
bounds
the
front.
this the
several
rooms
windows,
that feet
a
which
been the
give light
constructed
dressing
stage.
have
under solid
the board
can
few
before
wall
the
is
fence, leaving
be hidden. At
space
in which of the
orchestra
each
side
stage-front is
massive
pedestal, by
an
perhaps
seven
feet in
of thus
a
height, surmounted
The
two
over
mense im-
statue
bird. stand
a
vigorously
the touch
carved
one
figuresthat
either
guard
stage,
to
at
position, com-
hand, add
and
very
a
decorative finished
one
the that
afford
appearance
most
a
nature
theatres in
lack; but
the theatre the the
who
well
statues
has
not
seen
production
the
may
speculate
dwarfing
of
upon
possibilityof
and
upon
huge
the
any
action,
such union The
seeming
in is
a
incongruity
a
artificial of
art
feature
nature
place where
perfect
and
designed
is
to
be
effected.
Klampenborg
theatre
unusually large,
THE
KLAMPENBORG
WOODS
THEATRE,
DENMARK.
NEAR
COPENHAGEN,
THE
NATURE
THEATRE
than is
one
71 three
easily accommodating
spectators.
been
more
more
thousand
Perhaps
successful With
the
this
reason
why
other
it has
nature
than financially
most
any
theatre. dramatic
season,
able
members
of the
the first
profession
in the than the
summer
in Denmark of 1910,
employed,
yielded a
dollars.
net
profit plays
summer Mid-
of
more
five
thousand
were
The "A
given during
season
only
and
a
two:
Night's
drama.
Dream"
Danish
national
Perhaps
nature
the
most
remarkable the
of
the in
a
American redwood
theatres, and
near
oldest, is that
grove
Monte Club of
Rio,
San
California, owned
Francisco. it is In the
by
the
Bohemian
natural
among
unequalled
The
a
world. with
a
stage
is
steep
of
hillside,which
is covered where
dense
growth
up,
now
underbrush,
now
except
trail winds
open,
half-hidden, and
At the bottom
finallylost
is
a
in the
open
at
trees
and and
shrubs.
several the
wide stand
space,
smaller
platforms
above
may
intervals masked
along
trail,one
the
the be
other, each
by
one
plants; and
of
actors
ones
grouped along
the
on
any
these,
is
or
by
and
twos
trail.
The trees,
stage whose
framed
by
two
towering
redwood until
naked
trunks
mass
stretch
upward
far
they
are
lost in the
of
foliage
overhead.
Other
72
THE
OPEN-AIR and
at
THEATRE
redwoods,
out
two
three
hundred
feet
a
high, rise
succession
a
of the
hillside
of
diminishing
sense
inner distance is
a
and
giving
able remark-
of
the
setting.
Immediately
the
before screened
rows
the
stage
a
sunken of
pit
for
orchestra,
of this the
by
thicket
ferns; and
from
back
of the
seats,
fashioned the
trees.
redwood
is
logs, begin.
surrounded
Like immense In
stage,
redwood
auditorium
by
this theatre
the
Bohemian since
has
presented
a
its annual
new
"grove play"
of musical
art.
developing
unique in
evolved
form
masque
the
field of
dramatic the
The
play
has
has
from
or
club's
midsummer
"jinks," but by
the
really been
of the
physical
as
theatre, the
strict
limitations of the
as
well
the
magnificent possibilities
stage
almost
vertical
as
shaping
of
a
spectacular
production.
well
The
the
as
poetic features
now
type
old-time
it
stands but
offers
parallel to emphasis
the
masque,
with
the is
greater story
a
upon
musical
accompaniment;
out, and
as
is
always poeticallyworked
reliance the
upon
there
frank
the
purely visual
elements. of upon the
distinguishedfrom
Masque-like
in its
opera
poetic presentation
in its
story, approaching
and
music,
pageant-likein
74 in
THE Of
OPEN-AIR
THEATRE
staging.
the
local
most
a
authors notable
whose is
to
work
has
been Of of
presented, the
late there has
Mary
widen
the
were
Austin. the
been
tendency
some
field
the
theatre's
activity,and
of William
of Yeats
little-acted
poetic dramas
Butler
recently
produced
very
successfully.^
with
of
at
Comparable
in the wildness
the
its
Bohemian
Grove theatre
Theatre
of the
setting is the
New
Outdoor Two
Players
trees
Peterborough,
a
Hampshire.
but
large
frame
comparatively level,
both thick sides there
are
boulder-strewn,
trees,
at
stage.
On and
pine
and little
maples, hemlocks,
is
a
undergrowth,
The the bed of
a
the back
wooded the
very
hillside.
separates
also is
a
stage
small the and
from
auditorium,
the midst in used have of the of the for been
clearing in
first
During
chairs
"season,"
were
benches
terraces
seats;
semi-circular
rock. The
a
built of the
native
seats
smallness hundred
torium, audiand
a
which
the
sense
only
on
few
people,
to
rare
thick
foliage
create
of seclusion The
and
intimacy
that
is the
in nature
are
playhouses.
notable air
as
activities
extent
of of far
theatre
indicating the
in America.
interest
in openbeen
drama
to
So
they
have
limited
productions by the
a
Outdoor
Players, who
those
constitute
school
for the
training of
who
de-
THE
NATURE
THEATRE
AT
VASSAR
COLLEGE.
THE
SUNKEN
PATHWAY
DIVIDES
THE
SLOPING
AUDITORIUM
(AT
A
THE
LEFT)
FOR
FROM
THE
STAGE,
AND
ALSO
SERVES
AS
HIDDEN
RECESS
THE
ORCHESTRA.
[LORING
UNDERWOOD,
ARCHITECT]
THE
NATURE
outdoor drama. of
THEATRE
75 student-actors and
are
sire
are
to
produce
from in
The the
drawn
all parts
country,
instructed and
dancing, by
Platt and
leaders
as
ston Livingthe
Marie of 1914
Laughton.
Poliziano's
Among
productions
"Orfeo." The less
nature
masque
theatre
at
College
is
of been
rugged
type.
The
clearly have
natural reflection is
a
shaped by
has
nature
human been
hands,
yet the
But the
phere atmos-
preserved.
is of
in her
more
gentler aspect.
artificial bounds
There theatre
suggestion
hemlock
of the
garden
the
on
in the
at
hedge
and
which
auditorium the
the
front,
again
in the
pool
stage.
Of
particular
tween beas a
interest
structurally is
auditorium and the
no
the
sunken
passageway
serves
stage,
orchestra
which
at
pit
in which
to
hide
are
times
of
ance. perform-
There
permanent
seats,
folding chairs
needed. the
being placed
At of the
on
the
sloping lawn
Theatre
when
on
beautiful
Hill
little Dell
grounds
a
the
School,
is added the
Pottstown,
Pennsylvania,
at
as
touch
by
the
planting
each
a
side
stage, while
background
The have
not
is left
pretty
seat
tangled
hundred but the
woodland.
terraces,
which
people,
been
shaped
cally, concentrito
slope
is
great
enough
make
76
chairs
THE
OPEN-AIR
The
THEATRE
unnecessary.
is used
in
tion connec-
with
events
class-work;
have uThe the been Heart
really important
of
there
the
productions
of Youth" and
one
Hermann
Hagedorn's
One of
"Victory."
the
most
simplest
and
yet
of the
satisfyingof
air theatre
nature
stages
is that
of
little openThe
a
at
Meriden,
a
New
of
Hampshire.
background pleasing
additional
been
sense
is
solid
mass
foliage, affording
stage
is
of
enclosure.
appearance
The
given
that
an
"finished"
by
In
as
log
has
that and
placed along
two
its front. of
productions
one
demand
one
"planes
the
action,"
to
celestial the
one
mortal,
log
is used
separate
never
from
mitted per-
the
other, the
to
earthly
on
characters inner
being
of
intrude theatre
the
stage
the
spirits.
bird
In
this
Percy
was
Mackaye's
first that
beautiful
The
was
masque
was
"Sanctuary"
so
staged.
masque
tion producadded
never
successful of the
the
to
the
repertory
a more
Coburn
ideal
Players; settingthan
but
will it find
one
nearly
its initial
at
Meriden.
It is
largely due
nature
to
the
Coburn
has
Players, perhaps,
taken of
that
at
the
theatre and
a
idea
strong
the
hold
the
colleges
At
or
schools these
West.
built
least
institutions
planned
purpose of
playhouses, with
primary
THE
DELL OF
THEATRE,
THE
NATURE
AT
POTTSTOWN,
THEATRE AND
PENNSYLVANIA. GARDEN
BINATION COMTYPES.
THEATRE
78
THE
OPEN-AIR
THEATRE that
Normal,
is less District started of the
Illinois,is similar
elaborate Normal the and School less
at
to
at
Macomb,
The
but
First
permanent.
construction
of
playhouse
the
that
is
or
partly
tectural archithe
nature
type
A front. the
and
partly of
concrete
Greek
type. stage
at
massive The
wall
the
orchestra back
pit
of
four
tiers
ing seat-
feet below
of chairs
space
are
stage
floor, and
form.
rise is
in horseshoe
Additional
"bleachers" the athletic
provided by movable
in
on runners
which
fields.
brought
stage
is
The and
forty
feet
slopes
up
slightlyfrom
is the
front
back. that of
An is
interestingfeature
erected
over
temporary
and from Macomb
awning
at
auditorium
stage
sun
times rain.
formance, per-
giving Very
connected Maine.
more
shelter
to
and
similar
the
Theatre
at
is that
with
The
the
Building
of Arts, is
Bar
Harbor,
and
stage,
however,
more
open,
indefinite, with
large
trees
scattered
here
and
fitted for
a
pageants
dances, but
satisfying as
within
a a
background
hundred feet the
tered scatan
plays.
indoor
of the
few
suggests
In
a
wise
foresight on
that
part
builders.
every
climate of
brings
rainstorms
month
the
year,
such
THE
NATURE
THEATRE
AT
MACOMB,
ILLINOIS.
THE
NATURE
THEATRE
79 and
arrangement stages
A theatre of The
more
of
seem
adjoining
to
outdoor
indoor
would
be be
imperative.
made between for the the
nature
distinction that is
may
designed primarily
the theatre for
production
and dances. and
to
plays, and
pageant
or
pageants
has the that
theatre
seldom
enclosed is essential
sweeps
atmosphere
open,
the
other
with
wide
of
of and
landscape
the
stage,
sometimes and
river
lake, sometimes
of lawns and
of mountains, woods.
sometimes
most
merely perfect
of
a
Perhaps
in America, with
the
stages
of
because breadth
it combines of
enclosure
outlook,
the
sented. pre-
at
Peterborough, New
Memorial A
Hampshire,
have
a
where
been solid
MacDowell
Pageants
affords
a
of carries the
for
to
the
a
action, but
of
vista
hill and
panorama
with stage
is
Mount
Monadnock
in the
distance.
processions.
spectators. which
is
a
The
auditorium
seats
two
thousand musical
The
pageant
theatre
has
developed
and notable of
at
the
Peterborough
Under
new
type.
the
inspiration of
and
the able
memory
Edward
dramatic and
MacDowell,
leaders
as
with
the
aid
of
such
Professor
George
Pierce
Baker
8o
THE
OPEN-AIR
the have
Hermann
Hagedorn, colony
is The
art-lovers
form Bohemian of
of the
MacDowell
that
tion producGrove
is
comparable Peterborough
the
Plays.
production, however,
rather the than of the dramatic of
type.
It has and
not
unity
action and
as a
the
Grove
more
Plays,
it utilizes It may
as a
dancing
described
spectacle
musical
opera.
expansively.
rather
first of than
be
musical
masque
or
MacDowell
pageant
of
has
great
influence
the
growth
pageantry
of
the
open
at
pageant
type, but
has
differing
been of
structed con-
widely
that the
Peterborough,
of the
grounds
University
of
trees
consin, Wisthe
at
Madison.
Groups
stage
almost
at
frame
at
wooden back
platform
there is The and
a an
both unbroken
sides, but
view pretty
of
the
Lake
sition, compo-
Mendota.
whole
more
forms
very
satisfying background
could is
not not
for The
pageant-like productions
theatre in the in its present
nature at
be
desired.
form
permanent,
Those
being
of the
an
experiment.
of
in drama
University
Wisconsin,
H.
leadershipof
up
Professor of
Thomas
Dickinson,
with
the
question
open-air
and
theatres
able commenddid
not
thoroughness
conservatism.
They
THE
PETERBOROUGH
PAGEANT
NEW
THEATRE,
HAMPSHIRE.
AT
PETERBOROUGH,
[COPYRIGHT
BY
THE
MACDOWELL
MEMORIAL
ASSOCIATION]
82
THE
OPEN-AIR the
time
THEATRE
in be
feeling
very
at
same
preserved;
a
but
one
can
certain
at
more
that
when
permanent
theatre
is and
Madison
conditions
any
perfectly than
breadth
at
other. the
porary tem-
point
of
conception
Park
pageant
was
Forest
the
most
notable
ever
constructed retained of
an
country.
The
immense
auditorium in the
almost and
its natural
form, being
shape
arc,
sloping just
every tion. por-
enough
to
At and
production
of Saint
of
the
ambitious
were
Pageant
seats
Masque
Louis,
there and
for that
forty-fivethousand
between thousand
one
spectators,
and
one one
it is said and
hundred
hundred of the
fifty
people witnessed
was
performances.
as
The
front
stage
was
built less
on
scale
quite
large.
feet, and
Its its
no
than The
one
thousand
actors
depth
numbered
was
two
hundred.
seven
in the
production
The
five hundred.
auditorium
stage
separated
was
by
and
lagoon,
for
which
utilized
entrances
pageant
boat. task his To
masque
spectacular
an
by
is
a
dominate dramatic
such
immense
theatre
for
giant;
but and
Percy Mackaye,
Thomas held
with
"Masque
with
his
of St. Louis,"
Wood
the
Stevens audiences
accompanying
proved
scale.
pageant, the
spell-bound, and
on a
of production feasibility
community
THE
NATURE
edition
THEATRE
83
pageant
sity Univerabout
a
miniature
is the
of the
Theatre Here
St. Louis
at
a
Bankside Dakota.
the
stream
North feet
wide,
curving in the
and
shape
of
circle, semi-
separates
is
stage
one
auditorium.
feet
The
the
stage
approximately
hundred
along
the
curving
edge
front, and
to
a
slopes up
of low of the
slightlyfrom
trees at
water's
The
are
grove
seats
the
back.
present
to
wooden
sloping auditorium
terraces. to
be
placed re-
by rising concrete
is the
When
the
tre thea-
completed according
the three
plan
now
in hand The
thousand. "A
theatre of the of As
dedicated
West" H.
was
in
1914,
when
Pageant
the
tion direc-
North-
produced
under
Frederick
Koch. for
the
only
is
to
are
reason
taking
of
drama
to
the
tain-tops moun-
gain breadth
outlook, the
type. The
much
to
tain moun-
theatres
Harzer
Bergtheater,
a
to
has
done but
develop plays
of
new
form
of
drama;
when
the been
concentrated
interest
necessary
have
to
produced
up
out
there, it has
of wide the
on
build
grounds backthe
buildings and
the mountains
foliage, blotting
and theatre
vista
most
over
valleys. Perhaps
in America, that
notable
mountain
near
Mount
way
Tamalpais,
is
too
San
Francisco, in the
same
open
for
successful
production of
84
intimate tala"
was
THE
drama.
OPEN-AIR the of
THEATRE
When
most
Sanskrit the
play "Shakun-
produced,
charm of the
was
intimate obvious
to
humorous
pathetic situations
things
were
the
audience.
that
the
average
spectator
the
remembered virtues
a
quite
aside
groups
from
of
characteristic
the
play:
across
the
horsemen
away
galloping up
the
a
glade,
the
through
on
trees;
yellow-robed against
tones
standing
rock,
silhouetted in the
chanting
with
of
Sanskrit
prologue
of
quite
the
strangeness
setting; the
trees
;
groups
gaily-dresseddancers
wonderful
the
against the
and
above
all, the
view
beyond, with
seen
the
two
wooded
shoulders blue
valleys and
of the
on one
between
down
mountain,
side and
on
still farther
the
bay
from
white
other.
fog-banks driftingin
In such
most
a
the
ocean
theatre
surely
forts ef-
the
only production
will
not
in which
of the
actors'
nature
be
wasted
is that
in which
mass
and
It
was
man
collaborate
spectacularlyin
effects.
the the
"Shakuntala,"
more
perhaps,
that
led
ductions pro-
choose Winkle"
wisely for
and
later
"Rip
At
"William
the
Tell."
auditorium
the
not
Mount been
Tamalpais shaped,
for
an
Theatre
has
irregular hollow
seven
or
affording
seating
space
perhaps
eight thousand
.BOVE,
"AKOTA.
THE
BANKSIDE
THEATRE,
A
AT
THE
UNIVERSITY
OF
NORTH
BELOW,
TAMALPAIS
PORTION
OF
THE
STAGE
OF
THE
MOUNT
THEATRE,
NEAR
MILL
VALLEY,
CALIFORNIA.
[PHOTOGRAPH
BY
GABRIEL
MOULIN]
THE
NATURE had
been The
THEATRE
85
people.
to centre
The
the
stage
interest.
changed
theatre
only slightly by
the and
duce pro-
is owned
Mountain
Play Association,
and
group
of
amateur
semi-professionalactors
one
drama-lovers, who
On Mountain and
play annually.
from climb become calendar.
to
a
San
Francisco
occasion
has
art
red-letter
day in the
Some outdoor
of the
become
famous
the
name
for
productions really do
at
deserve
"theatre" other
known in
a
all.
Thus
at
the
Tree
Day
festivals which
and
are
productions throughout
wooded
Wellesley College,
country,
bears
the that
have
very
been
produced
to
glade
Of
little likeness
playhouse.
few
are
the
long
list of American
pageants
atres. open-air thethese
ductions pro-
very
associated
of the been demand
with
permanent
Some have
stages
improvised for
they hardly
structures.
description with
the
nent perma-
It
only remains
theatres."
more
to
say
word the
about
actual
the
so-called
may
"water
In
a
these
narrow
stage
be
a
nothing
mass
than
river
bank
water
against
of trees,
with
broad
at
sheet
of
in front. is
The
a
well-known
theatre The
Tiefurt
in
Germany
typical example.
St. Louis
pageant
theatre
86
THE
OPEN-AIR
THEATRE
might
the
be
cited
as
an
American
incidental
example,
feature
except
than
that
the
lagoon
of the
is
rather
an
centre
composition.
the
water
The
effects
that
can
be
obtained in
on
theatre
stage
that
are
so
unique,
type
will
and
their
way
so
beautiful,
here
the
doubtless
find
its
adherents
as
in
Europe.
88
THE
OPEN-AIR
the other
THEATRE
forest of the
theatre,
latter
on
is
an
usually only
open
space
in
the the
woods,
with
natural idyllic
background, while
a
clipped hedges,
of
trees
or
other
conventional
But
and
shrubs. is that
perhaps
the
most
noticeable
difference
is very
the
garden
the
theatre
or
almost
always
small. and
or more
While
nature
Greek
architectural
four
or
theatres
the
theatres
more
a
seat
five thousand
people, the
to
est mod-
garden theatre
hundred. Each
is content
accommodate
few
its
type
of
open-air playhouse
this very
has
perhaps
littleness
as
is it
one
of
the
sense
charming
of cloistered
intimacy,
/
and
an
phere atmos-
seclusion.
Because Roman
only
monuments
and of
architecture
no one can
survived
vicissitudes
time,
say
certainlythat delight
that of the
garden
and
existed
for
it
to
the
seems
Greeks
But
was so
in those of men,
days when
and
drama
so
close
was were
the
hearts
when
much when
every
of
art
developed
wont
to
under
patronage,
their friends and
and
nobles
sort
entertain and
with
of
recitation the
musical
dramatic
must
duction, prohad
to
private open-air
one
theatre back
to
have
its
place. When
thinks
Sappho
and
THEATRE
89
a
Anacreon
it
seems
no
place but
garden playhouse
to
would
And
have
perfectly suited
one
their
tations. reciof
indeed
a
has
in
the
paintings
Alma-Tadema
Greek
a
very
the
much
garden
of
theatre and
have
been: and
not
so
matter
lawns
trees,
but
miniature
perfection
the time
of
exquisite richness
not
of
his
Greek
have
temple.
built
a
Maecenas
on
in
private playhouse
his
or
estate,
where
Horace Roman
might
dramatist
the budding
produce
his
newest
comedy
known could Is
not
before
that boast
It is well
near
the
both
Roman
it clude in-
probable
also
that the
dramatic
equipment
less
are
intimate, but
permanent,
garden
theatre? but
These,
case
indeed,
in
one
there
to
is authentic
real At
approach
the
Roman
the
garden
theatre
at
in classic
Imperial
was
Villa
Pausilypon
as
very
small
ancient
playhouses
had
no
stage
building.
looked
Instead, the
across
archaeologistssay,
stage
Of
to
a
the
audience
the
formal
garden.
theatres that the have
most
the times
garden
to
survived
famous and
from
the
other
the
present
9o
most
THE
OPEN-AIR
THEATRE
are interesting
those
of the
Italian of
villas.
and that
The four
flected re-
broad
estates
of
were
that
magic
Italy
three
centuries the
ago
rich
in outdoor
peculiarlyfinished beauty
and
ing surround-
gardens
palaces.
more
These than
fresco playhouses
usually served
of
was
a
singlepurpose
the
place
an
for
dramatic of
an
performances;
elaborate
to
theatre
integral part
a
formal the
design,
the
chitectural ar-
having
very
definite the
relation
house,
other
walks, the
terraces,
fountains,
Thus the
and
the
features.
an
stage often
a
usually
statue
to
minated terwas
placed
in the
of
to
a
the
rear
stage -wall,
from
give
finish
vista
other
openings
garden.
architectural
most
no
'Purely
elements
were
rigidly
cluded ex-
from there
were
of
the
Italian
or
garden
theatres;
frame the The The the
an
pergolas,
pillars,to
or
stage, type
and
was
no
built-up wings
the
backgrounds.
di verdura."
perfectly
formal
"teatro
was
necessary
character
to
obtained
by
use
casional oc-
of
hedges clipped
conventional
or
lines, with
stairs
to
retaining wall
the
set
flightof
complete type,*
of
design.
the theatres
The
at
most
characteristic
which
*
the Villa
Sketch-plans
the
of four
representative
of
among
illustrations
Appendix
I.
GARDEN
THEATRE CALIFORNIA.
ON
THE
A
OF
MR.
HENRY ITALIAN
E. VILLA
BOTHIN THEATRE
AT
MONTECITO,
THE
GARDEN
THEATRE
91 flat
lia,and
the Villa
Collodi
are
auditorium
chairs
or
floor, usually of
benches
two
lawn,
where level
press cy-
could
or
be
placed, and
feet the above
nearly
stage
raised
or
three formed
this for
floor;
the
or
ilex
hedges
and shrubs The
wings
ers' play-
entrances
exits, and
surrounded
green
hedges
stage
the
one
masses
of the and
trees
and
and
often floor
auditorium. the
green
of in
stage
hedges, harmonizing
a
produced
The that
at most
the
famous Villa
the
Gori,
Wharton,
scribes denel tun-
in her
"Italian
Villas
to
Gardens,"
a
approach
the
theatre, through
and continues is and
a
of
way:
interwoven "The
ilex of
hedges,
in this
pit
this
a
theatre
wall
opening, bounded
backed
out
by
ilex
low
by
an
high
hedge.
broderie
The of
parterre
turf about in
a
is laid
in
and
gravel,
feet.
above The
which
stage
are
is raised enclosed
may
three
double
pit and
stage
the
hedge
of ilex, so
actors
reach but
the the
being
by
of
rows
the of
audience;
stage
each
ting set-
consists
a
clipped
the
one
cypresses,
few
a
feet
beyond
before
up
to
it, so
the back of
a
they
the
form
perspective running
terminated
stage,
and
by
the
tall shaft
92
THE
OPEN-AIR which
of the
can
THEATRE
gle
exact
cypress
centre
towers
high
into No
the
mere
blue
in
the
background.
convey
of
its
plan
the
charm
theatre, approached
of the
through
terious mys-
lying in
sky, in
must
silence
its
walls
unchanging
stage
the
verdure. the
people
'Aminta'
with
of
on
the the
'Pastor
a
Fido,' and
of
nobil
place
in
encircling seats
and habit
company
donne
pearls
satin, with
and
their
cavaliers collar
in the Van
black
Spanish
has
fallinglace
in of his this the
which
Dyke
and
new
Genoese
portraits;
will lend
the
leafy stage
Italian the
life to
the
reading
of
pastorals, and
woodland
throw
over
comedies
of
the
Villa from
at
Collodi the
(sometimes
at
Garzoni,
to
family name),
Villa Gori of
Pescia,
that
the
same
in stage
arrangement,
being
the but
series
clipped
of of
press. cya
hedges
to
the
wings,
is
of
ilex instead
a
The
auditorium The
merely
is rather
widening
low
on
garden
into An
a
path.
stage
is cut
hillside,with
retaining walls
is the
sides.
at
interestingfeature
prompter's
the
94
THE
OPEN-AIR
THEATRE
The
garden of
theatre
at
Villa the
sort.
Marlia. details
The
Vincent
theatre
Hubbard,
shows
This
arrangement
and the
characteristic
of the
type.
GARDEN
THEATRE
95 each
stage,
are
screened the
by
so
box
hedges,
the is
a
kept
at
the
height
Behind
of
wall,
that
masonry
is invisible. ilex
the with
three
upper
terrace
carefully clipped
on
hedge,
four
openings
are
each and
side
one
equally
a
spaced,
giving
of
of which
to
a
windows
ante-room
door,
shade stage
as
access
sort
of
under
the The
great
ilexes
behind
cypress
the
auditorium.
screens,
case more
is enframed
with
the
behind
which,
than
usual,
the tall There
are
wings,
in this
ample
the
in
a
other
ilex
are
instances, surrounded
on
outside
by
trees.
one
hedge
three
and
statues
shaded
at
by
the
overhanging
of the
two
back
stage,
in the
central
axis
and of
the the
other
two
rear
symmetrically
cypress
screens.
disposed in front
There is
a
prompter's shelter,
stage, stage which
were
as
made
of
in front the
of the
of
at
Collodi.
row
Running
little be
front
the
is
of
clipped
bushes, behind
lights could
placed when
performances
One
of the
given by night."
and the is
smallest is
at
simplest
Villa
of
the
Italian
near
garden
Serraglio,
ena. Si-
stage
yew
rectangular, with
for and
gravel
torium audi-
floor
and
hedges
wings.
lies four
The feet
a
also the
rectangular,
An
below
of of
stage
stone
level.
seats,
unusual
feature
two,
at
is
group
centre
eight
the
arranged by
the
auditorium.
96
An
THE
OPEN-AIR
of
at
THEATRE
theatre
on
example
is that
as
the
Italian
of the Lake
decadent
period
known is
Isola
Bella,
of
Maggiore,
structure
the
Theatre for
Hercules. rather
The
than
clearlydesigned
uses,
decorative
tic drama-
although
there. its
dramatic The
ornate
productions
were
given
with
architectural of Hercules
sense
overlarge
statue
its many
minor is such
lacks figures,
a
all that
of repose
of the
which
pleasing accompaniment
largest
Villas is
of
at
the
true
garden
near
of
the The
Castelnuovo,
to
general design
here There but
a
is similar
are
that
at
Gori, but
detail.
the
greater
of
stucco
every
is the
arrangement
exists in Painted
a
cypress
wings;
used
as a
unique
wall
was
stage
background.
this
scenery
introduced fitness
one
against
of the
wall.
Reflecting on
the
perfect
restful this
hedge
backgrounds
would
elsewhere,
appear
a
feels
note.
that
artificial touch
false
Of
among
very
different
type
"
and
to
a
be
included
tension ex-
the
garden
term at
on
"
only by
outdoor Here of
a
generous
of the Boboli
stone
playhouse
several
in the
Gardens
seats
tiers of
rise
side
where
hundreds
of
players could
take
ABOVE, BELOW,
THE
WATER
THEATRE IN
AT THE
BOBOLI
VERSAILLES, GARDENS,
FRANCE.
THE
AMPHITHEATRE
FLORENCE,
ITALY.
GARDEN and
statues
THEATRE
Above the
97
seats
are
masques
and
pageants.
in
hedges.
an
The
orate elabing ris-
whole
composition
fountain
at
the
palace
directly behind
is of formal
more
it.
This
of
amphitheatre
as
interest
and architecturally,
part
of
dramatically.
pageants,
but
It is perfectly it is
festivals forms
and of
hardly
fitted for
those
drama
in which
tion concentra-
of attention
The time
clipped hedge
Italy were
northern
may
at
one
extensively copied
countries, and
a
pean Eurostill be in
few
examples
The is
an
found
a
in France
at
and
Germany.
in
playhouse
almost
park
Rheinsberg,
of
in the is
a
Germany,
Goethe's
of the
fect per-
survival theatre
near
the
type.
tle interestinglit-
gardens
Belvidere
Palace
the
Weimar
is the
example.
and
Here
stage
and
only
fifteen
twenty-fivedeep, high.
more
six feet
The
tiny
a
auditorium
score
hardly
than
of
spectators.
most
Perhaps the
in Italian
famous
at
at
of
the
French
is
a now
theatres
style,that
there
or
entirely
of
gone.
But
d'eau
at
is
survival
was
the
very
a
theatre
"fountain time.
In
theatre," which
structures
popular
one
of
this type
98
wide
THE
OPEN-AIR
for dances
THEATRE
and
used circle,
spectacles, was
round side
was
rounded sur-
perhaps two-thirds
terraces
a
of the way
the of third terraces,
by low
structed con-
of
seats.
On section
a more
higher
to
appearing
of
at
ditorium. au-
first
glance
be
elaborate
part
the
In formed
however, reality,
a
these
decorated and
a
races ter-
series
of
fountains;
when
the
flow
series with
of
water
became
dazzling
in form,
of miniature the
water-falls, semi-circular
varied here and there
composition jets.
used The
to
by tall
to
slender
term
name
"theatre
not
d'eau"
the
seems
have
built from
been
only
structures
thus
of
seats
in theatre which
and
form,
but
any
arrangement watch
common
spectators
could
were
the
groups
of
fountains of the An
jets that
in the
gardens
time.
adaptation
the colder
of
the
Italian
type, and
better
one
that the
suited
northern
than
treillage or
"trelliswas
stage
background
and Arms
by
combination in elaborate
hedges design.
trellises,
of the
latter work In
often
trellis also.
occasionally
Holland
encircled
the
auditorium
was
especiallythe
of
treillage type
popular
in the
golden period
The
most
garden-making
the
and
amples ex-
garden-theatres.
now
interesting of
is at
existing,however,
Mannheim,
in
GARDEN
THEATRE
99 this
Germany.
is here
The
photograph
shows
a
of
theatre
which
reproduced
dramatic William
performance
and and his party. well the
ranged, ar-
Emperor
well
well
is
may
proportioned
prove
and of
suggestive to
ers build-
garden
theatres
in America. of the
H.
gardens
:
of
especiallyof treillage-work,says
were
theatres
at
frequently to
was
be
met
with. with
a
Westerwyck
of
quite elaborate,
arranged
sat
as a
scenium pro-
big arch,
oval of
to
was
a arena
hind be-
which
in
sunken
were
adjoining
stage.
and
The formed
wings
hedges
series
a
closelytrimmed
of leaden
statues.
backgrounds
of the
The
back
stage
manent per-
architectural
[trellis-work] composition.
often
so
These but
theatres
were
none
constructed
are
of in
treillage,
naturally
American
made that
on
now
existence." closest
to
The the
E.
theatre is that
approaches
estate
Italian
Bothin
type
at
the
of This
Mr.
Montecito,
one
California. the
most
little of
is,indeed,
of
beautiful
are
all the It
examples
is
in which
used.
clearlyinspiredby
same
Villa and
Gori, and
purity
simplicityof
half-circle
These of
feature the
is the
around
auditorium.
ioo
THE
OPEN-AIR each
THEATRE
six in number,
one
On
auditorium
floor there
for
one
hundred
Another
Villa Mrs.
American
is that
at
theatre
modelled the
after the
estate
one
at
Gori
"Ragdale,"
at
of
Mr.
and
Howard
as
Shaw,
Lake
Forest, Illinois.
the
and
same
Ragdale Ring,
arrangement
But
in make very
it is called,
originallyhad wings
of
of
clipped hedge
several
years
owners
ground. back-
after
actual
ence experito
found
it wise
considerable
similar and
to
The
auditorium
is still
that
Italian
surrounded is
by hedges;
a
of
the
proaches ap-
through
that
pleached thorn
at
less alley,doubt-
suggested by
has been have of
Villa
Gori. The
But
the
stage
clipped hedge
ments arrange-
wings
way
to
more
and
the
ventional con-
wall
a
taken In
out,
opening
the
up
vista
into has
sloping glade.
enlarged from
to
a
stage
depth
has
been
thirty feet
been made
ninety feet;
much
more
and
fittingsetting
dances. of The
pageant-like plays,spectaclesand
is
to
more
house playthan
suited intimate
at
a
to
this
sort
production
it
was
literaryor
drama,
spot
too
because
tunately unforfrom
placed
little sheltered
GARDEN
THEATRE
101
winds,
the
sense
the
acoustics of
thus
to
being interfered
some
with,
intimacy
at
degree destroyed.
stage is framed
Electric
on
the
front
by
two
set
twelve-foot
in these col-i
columns.
umns,
lights have
side, and
been
the
stage
other
lightsare
from
a
reflected
board switchof the the
from
the
wings,
all
being regulated
The
to
a
in the
auditorium.
has
some
effectiveness
productions
and lighting,
depended
very
large
and
extent
upon
unusual
beautiful
effects
At the
have
times
are
been of
set
created
with
vari-colored
lights.
colored
performances
in the
are
sixteen wall
gaily
masts
in sockets
surrounding gonfalons
floor
the and
and
on
these
The feet
hoisted
auditorium below
the
is sunk
one-half
stage
level, is seventy
to
in diameter,
and
seats
from
three
four
dred hun-
people^/ /Perhaps
the
finest
example
the the York. into
of
an
open-air
tre theaof
at
perfectly suited
American Mount
to
unconventional
Brookside Here
type
garden
Kisco,
has
a
is
Theatre,
Miss little Martia
New
Leonard
that drama.
brought
very
being
playhouse
the
affords The
beautiful
setting for
poetic by
the of
is framed the
projecting arms
most
pergola.
one
Unlike
can
stages
outdoor
theatres, this
stretch
be of
curtained
the
by
hangings which
between
two
pergola
102
THE
OPEN-AIR six
THEATRE
There
are
stone
semi-circular further
form,
surrounding
total
ing seat-
affords
seating room.
three hundred
capacity is perhaps
theatre either lies in
a
narrow
as
valley,and
walls,
to
high
sense
side, serving
that is
create
macy inti-
impossible
thus
in
most
outdoor here
playhouses;
and
there
presented
successfully several
which greater
Miss of
modern
comedies,
in
would
have
effectiveness
thg7
spaciousness of
Leonard
most
open-air theatre.
sions ver-
has of the
rected di-
all the
was
details
production.
opened with
and Death
The
dramatic
productions
the
one
greatly,
from
on
cock-fightson
the
aesthetic
dancing
have
other;
and
the
productions
the
cluded inof
"Lysistrata"
Romanesque,"
"The
"Twelfth
Night"
Taming
and of
Shrew,"
sette."
Maeterlinck's value
so
"Aglavaine presentation
seen on
Selythese
of seldom be has
the
are
dramas,
the
cial commer-
stage, Brookside
cannot
doubted. been
Altogether
the
Theatre
remarkably
successful
ABOVE,
AN
THE
BROOKSIDE OF OF THE
THEATRE,
DECORATIVE GARDEN TERRACE
AT USE
MT. OF
KISCO,
PERGOLAS. AT
NEW
YORK.
EXAMPLE STAGE
BELOW, YANKTON,
THE
THE
THEATRE,
SOUTH
DAKOTA.
io4
THE
OPEN-AIR
in specialist theatre
THEATRE
of
Minneapolis,
The
. . .
that
particularfield
of
design.
of
enclosure, which
140x200
consists
hedge
seat
and
2500
garden
wall, is
feet, and
and
will
spectators stage.
on
within
terrace,
perfect view
or
hearing
is 30 of for
x
of
60
the
The
stage
proper
feet, but
an
occasion 50
x
the
entire
may
stage
be The
the
a
garden,
dramatic
area
140
feet,
scene
or
pageant
spectacle.
and
is
permanent
and
ment equip-
stage
is
lighting
illumination.
which
The
are
seating provided
removed
when
not
in use, lawn.
beautiful of
sloping
the
fountain
of the
seats
at
the
rear
centre
stage
there
will be
will be
ornamental of
stone
or
features, and
marble
carry
garden
and
out
other
ornamental the
objects of sculpture to
Italian
the
style of
formal
at
garden."
Poland,
is
In the
a
Lazienski
Gardens,
Warsaw,
at
least has
approaches
been of
structed con-
the
park type.
island, with
The
a
stage
an
background
trees.
ficial artithe
classic front
ruins
against high
and the
on
Between there
swans
stage
channel
wall
of
auditorium
is
may
row nar-
water,
which
The of
the
sail
the
adjoining
lake.
rows
lower
seats,
auditorium while
above
by straight
a
semi-circular
opening
in the
with hillside,
THE
OPEN-AIR
THEATRE
AT POLAND.
LAZIENSKI
GARDENS,
WARSAW,
GARDEN
THEATRE
benches. with is
more
105 all is
additional
masonry
wooden
Surrounding
statues
at
wall
The
adorned
regular
for its
vals. inter-
structure
notable
unique
form
than
similar
a
for
activities.^
several of water be
"K
and and
blending
types
of
theatre,
similar
arrangement
are
separating stage
in the
auditorium,
which
on
to
found
R.
Rosemary
has
structed con-
Theatre,
Mr.
estate
Roland
at
rows
Conklin
his
Huntington,
of the
seats
Long
Island.
the is of of
the concentric
theatre
nature
system;
but
stage
the
theatre cedar
or
type;
frame formal
to
while
the
groups
of
to
stage
the
sides, and
the
among
"
the
more
less
seem
planting
around
would
justify inclusion
garden
four
theatres.
The
seating capacity
can
at
thousand of
a
spectators
be
accommodated the
structure
is that
is
on
private grounds.
the
has
kindly
plied sup-
uThe
a
separated
of
from
are
the
auditorium
by
trees
lagoon,
ends This
which
hidden
to
by
and
shrubbery.
the
water to
lagoon
is fifteen
over a
thirty feet
The the
wide, and
terrace
goes
water
into it is
cascade. than
are
next
the
for and
slightlylower
There and
stage
small
and
terraces
is
the
musicians.
four
each
four
large
ones,
they
are
io6
THE
OPEN-AIR
THEATRE
the been
built from
boulders
gathered
boulders of
or
on
farm.
In
the
interstices of these
have
planted
and rock
from
perennial
colonies feet of
ers, flowThe
colors.
hundred
or
are
in feet
width
in the
and
est forbut
stretches
three There
four
no
hundred
beyond.
I have
proscenium columns,
a
planted for
close
to
each
proscenium
about
group
of three feet
any
together,
out
twenty
high.
mal foris
tried
work
everything without
even
additions, and
stones
the
entrance
in
the
form
of
court, feet
dience, au-
paved with
above
flagging.
and
The
at
theatre least
is about of
125 the
Oyster Bay,
when
one-third
over
seated,
shores
can
look of
out
Long
fifteen
Island miles
Sound
away.
to
the
Connecticut
Water with
pipes
extend
around
that the
each
terrace, the
water
ted fitis
irrigationjets,so
to water
when
turned of the
on
the of
grass,
appearance
is
given
have
col\
fountains
Peterhoff.
of
Electric the
wires
been ored
laid
for
lighting each
in the the
terraces
by
are
globes
hidden
foliage.
There
three
spot
for
lights from
several
auditorium
the
to
and
arrangements
The also
a
spot
are
lights on
such
as
stage. include
on or
electrical
dimmer
arrangements
so
that
the the
lights can
appearance
be of
turned
off
There
gradually
are
to
give
twilight.
out-
GARDEN
107
over
two
lights.'^/
on
Theatre,
the
most
of
its
unique form,
is
one
of
terestin in-
been
Before
its construction,
a
natural
of "As
site
utilized
successfullyfor
the 1914, been
structure
production
was
You
Like
the
It," but
of
not
completed until
of
summer
and
up
to
the time
writing, no
productions
had
given
appear
in the
theatre. sake
Professional of
companies will
the theatre
charity,but
and
will be
utilized
for
amateur
social
some
affairsv?
the
garden
theatre
in which
been
of
natural
beauties
of the
preserved
lovely playhouse
at
William
Here
Miller
Montecito,
more or
California.
the
old
the
less natural
a
stage
be
background would
in the
give
the
theatre But
claim the
to
included
"nature" steps, of
the
group.
conventional
that the
so row
stage-wall and
centres
the marble
the
bench
well
the
interest
at
spectator, and
are
of slender the
cypresses
back, all
the and
earmarks is
a
of little
garden type.
Behind
stage close
there
by,
in the
a
garden, grill.
al
fresco
Italian
dining-room
At
and
Tarrytown,
has built
a
New
little
York,
Mrs.
Charles
Judson
a
Gould
curi-
io8
THE of
OPEN-AIR
Greek theatre
a
THEATRE
and
ous
mingling
garden
theatre that
theatre
there is
Although
the
are
called
Greek
is
beside There of
seat
arrangement
rows
on
truly
four
of the
seats,
structed solidlycon-
stone
quarried
spot, in the
typical
ditorium au-
classic
form
of
rising semi-circular
hold
more
rings. This
about
can
one
hundred
people, but
on
find
places
is
no
the
sloping
the
back.
There
raised
the
a
stage, but
merely
rectangular extension
on
of
"orchestra" low
masonry
three
sides
by
at
massive make
erect
a
columns
the
back.
hind, Bebut
charming background;
the
possible to
The drama
"scenery" against
drawback of the
columns
as
if desired.
chief is the
to
theatre
settingfor
is
paucity of
the
entrances.
There
only
one
entrance
stage
"
which
will
hardly
meet
the
demands is
so an
of
the
usual
dramatic
production.
and
at
The and
structure
ideal used
lectures,
least
one
has has be
been been
many
play
would
presented
to
it
unwise
copy
had end.
the production
of
plays
many
in mind
primary
in which
There
can
are
gardens
stage
and
torium audi-
be
improvised and
the
passable productions
of
given without
actual
construction
anything
archi-
worthy
the
name
of theatre.
Sloping lawns,
io
THE
OPEN-AIR
THEATRE
dramatic
and
a
readings
new
"
they
all would
gain
from
new
beauty
roundings sur-
significance
to
the
usual
the
garden
of than of the
/The
spreading
goes
dramatic
matter
ment move-
deeper
the
a
the
a
of
ment; amuse-
and
more
owner
garden
The
theatre of
possesses
than
pleasing
is
a
toy.
real
growth
of the of desire The
are
the
open-
air
playhouse against
and
an
very
part
nation-wide
the for
amateur
protest
the
commercialization
of
a
regular
sounder and
more
theatre,
and less
indication dramatic
artificial
fare.)
semi-professional discriminating
take theatres many
come
"
performances
for in the the
training
art
audiences
true
that
will
evitably in-
larger
place
future
professional
the
; moreover
a
they
playwright
work
very
are
moulding
and
actor
talents
years
of
to
native
of
the
for
if the
in
play
here
to
be
wide
and
enough
there
an
and
teur ama-
sincere
enough,
artist
surely
will
graduate
theatre
for
the
may,
not
wider
dramatic become
a
world.
very
The
garden
force
indeed,
significant
but
good,
and
only
for
few
in
individuals,
for
society
for
dramatic
art
general.
GARDEN
THEATRE
ON
THE AT
ESTATE
OF
MRS.
CALIFORNIA.
WILLIAM
MILLER
GRAHAM,
MONTECITO,
CHAPTER
VII
THE
DRAMA
OF
THE
OPEN
THE
only
that true, those
casual
to
commentator
is
only
too
likely
tion producnot
describe
as
one
specific type
characteristic,
drama.
of
the
of
most
if
the finds
form
outdoor
Thus
one
who
have
directed
at
productions
consider
a
in
the
Hearst
almost
Greek
austere
Theatre
Berkeley
simple,
the of the
door out-
play
of of
most
typical form,
East and the
while
group
pageant-masters
masque-writers
Middle
West the
consider
truest
spectacular,
drama
pageant-like
;
a
production
the
owner
and
very
then
comes
of born
theatre
with
that
deep
of
conviction,
forms the is
of
neither
these
and
typical,
drama
and
the
are
poetic, the
romantic for
literary
in the the
perfectly suited
of that
production
from
open.
difference
opinion
there each
are
arises
lack
of of
several
its
distinct
types
air
theatre,
with
individual
of the drama
and
open
one
advantages.
should be
Every prefaced
study by
the
in
statement
ii2
THE
OPEN-AIR
THEATRE than
and
to
open-air theatre
of
can
adequately house
types
of
more
one
several of
distinct
production;
will do
the
builders
open-air playhouses
type
of
well
be
study
carefullythe probable
deciding
upon
play
to
the
style of
theatre
be
structed. con-
Certain
tain
to
per*
one
all
out-of-doors.
any
If there
is
quality that,
drama
than from
other, distinguishesthe
indoor outdoor
must must
the
drama,
it is genuineness. the
successful
the
production
above be
play, the
be
a
setting and
and sincere.
acting
simple
certain
The
in
whole
by
a
joyousness
life, and
of the
can
interpreted with
openness
sympathetic understanding
of
nature. sort
and
dom free-
producer
that
can
take the
out-of-doors clear
only the
light
of
stand
white
day;
"white-slave"
the intimate
play,
the
tic bombas-
melodrama
"society" comedy
open
show
forth
of
only
too
clearlyin the
ments ele-
Moreover, artificiality.
of the indoor
really
their macy intiest, inter-
vital
developments
in the
drama the
lose lack of
effectiveness
open
through
there; the
the
upon
emotional
play
that
appeal primarily
tension,
climactic
story
absolute
emotional
fails because
continued
concentration
THE is
DRAMA
OF
THE
OPEN
113
of attention
impossible fresco
than
in the
open-air. The
is
ically typ-
effective al
and
drama
simple, decorative
or
poetic,
rather
intricate, realistic
tensely in-
emotional.
Beyond
this
general division
distinct
:
line, one
can
easily
in the
pact com-
sorts
of
production
tragedies are
that line
examples; second,
upon
play
depends primarily
and
mass
the
sensuous
beauty
of
and of
color, the
the
more
drama dramatic
of
movement,
which
are
of
pageant
and
dance
typical;and
the
third,
drama
rich in beautiful
poetry,
play
in which of
imaginative story
and three
is embroidered
verse
with
beauty
language
The
incidental
and thus
primary
of
elements
stateliness
movement
action, the
the
some
decorative
beauty of
of guage lan-
and and
color, and
are
poetic richness
measure
thought,
in
mingled in
on
all successful
or
productions.
elements
But
may
the be
emphasis
made dramatic
one
another
a
of these
of
distinction in turn
between
the
very
three
which
correspond
of
course
closely to the
theatre. The
to
general
types
of
open-air
are
tragedies
on
perfectly suited
tion producof
the
stage
the
ii4
THE
OPEN-AIR
the
THEATRE
classic
theatre;
and
pageant-likeplay, in which
and
ment moveare
dancing
beautiful
costuming
of
of
more
importance
than
plot
or
richness of the
language,
theatre,
or
is
play
of of is
nature
or
with
water,
background
its auditorium
trees
meadow
openness;
maximum
whereas
intimate and
poetic play
typicallythe play
every every
of
the
tone
garden theatre,
facial
in which
subtle
nuance
delicate and
expression, and
of
thought
More
on
feeling,has
one
than
producer with
has
to
Broadway
his "art" the
failed
dismally when
of
a
brought
The is
the
stage
Greek the
Greek
theatre.
Hearst
of
Theatre
especially
efforts of the
fects ef-
records
unsuccessful
to
"put
over"
cunningly within
of
course
doors.
are
staging
Greek the
plays, which
of
means
perfectlyfitted
greatest
The
limitations of
the
theatre,
the
possible
economy
subterfuges of
and The
the
professional stage
from, rather
than add the be
transparent
detract
production.
severe
sustained of the
nobility and
must
loveliness
certain
tragedies
and breadth be
on
reflected and
in
stateliness
of
staging
out
acting. Everything
mass,
or
must
carried
in
large
At
the
play
is lost
the immense
stage.
n6
THE
in
THEATRE of Reinhardtian
trouble
working
sort
spectacular simplicityis
the interest
"
sustaining
the
for At
moment's
total
effect. that
most
was
the
Berkeley
successfullyachieved
the Other the Sanskrit drama have been
visual
fective ef-
"The saved
Clay
Cart."
plays
merely boring
scenes,
audiences
a
with
a
"mob
a
scene"
there, and
at
gorgeous
leave
vivid
impression
In suited
the
end.
a
entering upon
to
of the
nature
type of drama
theatre the
one
production
plunges immediately
values
from of the
into
question of
Considered
relative
play
and
pageant.
of
entirely
art, the
standpoint
pure
permanent
more
dramatic
play, the
pageant.
drama,
the
is far
For
be
play
text,
on
form,
may
reproduced
of
the
the
ure pleas-
and
inspiration
the
succeeding
for
passes
statue
generations,
when the In ing last-
whereas
end this of
sense
pageant
final
is gone
the
procession
the
stage.
or
the
play is like
be
in marble is like
a
bronze, whereas
in world
the pageant
elled figuremodlost
to
sand,
the
to
washed
of the
away
next
and tide.
the
with
of
coming
But
is
in the
direction
civic betterment
the
pageant
by
far
THE
DRAMA
OF
THE
OPEN
117
the of
more
important form.
into and
a
It draws artistic
large numbers
in its
people
common
pursuit, and
it tends
as
symbolism
civic
historic
allusions
to
awaken the
pression ex-
consciousness.
is
Considered but
one
art
a
alone
pageant
as
communal the
most
and
of life.
nifica sig-
developments of
It is
not
modern
scope
within
recent
the
of
this volume
of the
out
to
scribe de-
the in America
remarkable
growth
or
pageant
the
eral sev-
and
elsewhere,
in its form. the
to
to
point
variations
pause
to
But
it is worth is
while
to
pageant
the
typically the
theatre, and
a
form
of
suited
nature
to especially
on a
of theatre of lake
or
that
sea or
has
stage
ing open-
wide
vista the
meadow.
a
story-thread of
pageant
is at best
any
series
or
fragments, without
and continuity,
dramatic
the
spectator'sinterest
So
is held adds
primarily by
to
over
the
spectacle.
anything
that
the
a
visual
beauty, whether
mountain
it is the
or
an
clouds
floating
bit of
distant
peak,
or a
unusual
sweep
woodland framed
lightand
in trees,
shade,
broad
is
just so
much
As the
clear
lover that the
gain
of
producer's standpoint.
turns
pageants
out most
his mind
most
back, the
things
stand
groups
vividlyand
satisfyingly are
that
of
gaily
and
caparisoned horsemen
sweep
into
sight
n8
THE the
OPEN-AIR
THEATRE
the
across
stage
so
or impressively,
picturesque
across a
galleons floating in
lake,
or
to
the
stage
landing
meadows
are
the
dances of the
in leaf-strewn
trees.
before
Not theatre
only
and
these
things
Greek be
the
they
could
staged there
the theatre in the definite of
they would
than
increase
total
effectiveness.
there nite is defitre theain
play
typical garden
play
there
least
either, the
be
a
pageant
in the
would
nature
ruinous
"
But
theatre
for
openness
stage, and
the
diversity of
concentration
background,
of attention.
and
vistas, preclude
whole
interest is
the
of the
to
episodes
the So
upon
the
nature
extent
are
which utilized.
of
theatre
and
alone for
affords "drama
perfect settingfor
of
pageant,
the
decorative
and
ment," move-
for the
and than Of and its
course
drama of
wherein
nature,
dancing,
are
ing, costum-
the
effects
of
more
tance impor-
dramatic
no
story
nature
and
poetry.
are
two
theatres that
exactly alike,
may lose half
the type
of
production
when
nature
effectiveness
are even
staged
theatres
another demand
nearby. specific
There
THE
DRAMA that
OF
THE be
OPEN
119
types of drama
;
a
never
would
where satisfyingelse-
the
Bohemian
Grove
of of the
Plays,
narrow
one
for
instance,
are
direct
outgrowth
advantages
limitations
In
and
unusual
the
the
theatre.
the
nature
ing discuss-
typicalproduction
of and maximum St.
of
theatre, the
as
playhouse
openness,
such
the
borough Peterthe
Louis
pageant
have
theatres been of
and
Tamalpais
as
Mountain
Theatre,
But
considered the
as
or
the
truest
examples.
the
more
certain
nature
theatres
approach
small and
garden theatre
or
type,
when when
they
are
less
or
enclosed,
less Most
they
for
have
stages
shaped
more
architecturally
of the
formal
nature
entrances.
have stage,
certain
characteristic
because
away
of
the
garden
probably
to
the
producer
the traditions have
finds the
at
it harder indoor
break
as
of
theatre
the in
done
Peterborough,
on
and
the
hemian BoIn
Grove,
America the of
and
Mount
at
Tamalpais.
Carmel is
Forest
Theatre
really an
tre" Thea-
example
at
the mixed
"Nature
Hertenstein
and the
Klampenborg
Meriden
Woods
is itations limthan
Theatre;
so
stage
trees
the its
Theatre and
far
enclosed
are
by
that
advantages
theatre
those
nature
of
the
garden
rather
of the
true
It is the
highly imaginative
subtly poetic
120
THE
that
:
OPEN-AIR
THEATRE
is most
perfectly suited
the
to
the
of
a
garden
pretty
and is
a
the
play with
embroidered In
primary appeal
with fanciful theatre
richly
conceits there
the from
a
garden
the and
seclusion
creates
vulgarities of
delicious No
the
world, which
new
players
no
and of
spectators.
change
tion, posi-
shade
meaning,
is lost.
no
no
of
dental incithe
here
slow bores
only
if ciful fan-
indoor
tolerable
only
poetry
is rich The
fantasy
of of
enough.
doors and and the
intoxicating
out-ofand
lawns
and
flowers
make
trees, the
heart of
mind,
possible
and of
comprehension
that vanish
elusive
poetic
the
thoughts larger
The intimate
sorts
feelings
entirely in
theatre of the and
playhouse.
for the
ideal
sort
plays
of
garden
are
the of
nature
type
Shakespeare's
fantastic
and You
Maeterlinck's Like
It," and
which
fanciful
UA
Midsummer in
Night's Dream,"
the
satisfy completely
the indoor
incongruous setting
here their natural
of
THE
DRAMA
OF
THE
OPEN
121
accompaniment
winds the
necessary
of
sunshine
and and
shadow,
at
of
same
pering whistime
and
singing birds,
the And
intimate
a
atmosphere.
charm and
"Twelfth
when is for
Night" staged
gains
under
new
effectiveness "Comus"
a
the
open
sky.
Milton's
typicallyan
the
extensive
outdoor
sort
play,
of
and
yet
not
play
open-air
are
theatre.
linck's Maetermost
dramas
for
the
part
and
peal ap-
to
"Pelleas
pathetic
usual acted found Those and
garden
theatre
some
tawdry plays,
their
"Aglavaine
and
Selysette"
the
loveliest
interpretationin beauty
slow
be
to
open.
literary
whose
tion ac-
plays whose
is too
is too make in
a
reflective
them
effective
indoors,
the
might well
several
revived of
garden
and of
playhouse:
dramas dramatic
Tennyson,
and
Browning's
derful won-
poems;
contemporary
and Alfred be
work,
the
plays
of
of
Stephen
Phillips
Noyes.
Many
these and
compositions
cut, but
must
judiciously
sulting re-
adapted,
usually
version
brings
the
pected unex-
reading
of
a
original. Carrying
further,
and
many
the the
of
adaptation
of
step
of
longer
poems
Browning,
of the
Keats,
can
and be
low, Longfelvery
ac-
and
others
great
poets,
122
THE
OPEN-AIR
THEATRE
ceptably dramatized
sense." The
by
amateurs
with
the
"dramatic
seems
idyllic garden
to
theatre
somehow
of such of
are
perfectly
fitted
the also
presentation
to
poetic
those
adaptations, and
the
production
so
plays by
in
amateur
dramatists, that
often
slight
thought
of
an
and the
lacking
indoor
in
the
powerful
drama,
and
emotional and
climaxes
intensive
which
yet have
charm
occasional
are
lyricbeauty
real and
"
imaginative
"
that
very
out-of-doors
very
appealing.
Returning
as a
to
one
the
may
consideration
of al
fresco
drama
whole,
well
peculiar acting
qualities necessary
of the drama
in the
actual
mounting
and
The
all be be
above
must
the is the
or
stage
few.
the
of
a
beautiful the
nature
mass
architectural
of
trees
Theatre
and
shrubs
or
vista
of
the
or
can
garden
add
to
theatre, there
make that
can
is little that
man's
"
hand
the be
setting more
added false
without
making
of
the
whole
tail de-
ridiculous. and
All
the
perfection
of
canvas
realistic
all the
extravagance
marked
recent
and
paint and
tinsel that
have
indoor of illusion
staging, prove
out-of-doors.
doubly futile
in the
creation
THE
DRAMA of
OF
THE
OPEN than
123 other
true
derstands un-
In
the
drama
the
open,
more
in any
sort,
suggestion
can
is the be
only
method
by
of
which
artistic illusion
achieved.
If the
director
his
on
als, materia
curtain
a
stretched
between
two
poles
it, can
than
lawn,
made bored laa
with
more
single massive
suggestive of
efforts of the
a
chair
before
be
most
throne-room indoor
the
stage
designer.
or a
Thus
of
plastic background,
in its
own
single stage
and
not
as
seen
painted semblance,
the
exact
may
spectator's
action;
scenes
mind whereas
atmosphere
collection
required by the
of
the
usual
painted
at
canvas
and
the
make-believe hard
properties can
a
best
only
reality of
The
place, and
never
outdoor be
insofar setting,
it is
at
all, must
of
simple
"
rather
than
involved,
sense.
plasticinstead
In the nature
pictured
there
genuine
has
as
in every
a
theatres Nature
been
a
wholesome and of
terials, ma-
tendency
even
to
leave
alone
background,
to
make
natural Of may
beauties
compelling part
of
the
total
effect. of what
this utilization
Nature's
be
called
the
collaboration Thomas
of
Nature
in stage has
production, Professor
:
H.
Dickinson "The
of
written
discovery
nature
of the
dramatic
values
of the
tures fea-
is
a distinctly
modern
thing. These
124
THE
OPEN-AIR
THEATRE
are
now
recognized
of
not
only
as
securing
when
mediums,
and
most
which,
are
handled of
some
with
of
understanding
the richest of
art.
are
cunning,
elusive
capable
fects ef-
in all the
nature
domain
phenomena
most
of
and and
natural
objects
mediums
adaptable,
of man's in
act ex-
rich hand.
suggestive
In of
reach
and versatility,
yet
and
or
in
to fidelity type, to
an
variety
responsiveness
no
amenability
line
nature
requirement
hand of
man can
color
provided
if she trees,
by
the
compete
The color
with
is properly and
schooled.
values
of
lake,
meadow,
the
trees
the
shadows
moon
thrown
stars,
by
the
trees
and
clouds,
of
light of
and of
and
as seen
varying
outline
hills
atmosphere
director. she
material
no
for
the
stage
mistakes. action.
wrong
Chameleon-like
would be in and chosen for
adapts
for
a
herself
the
It
impossible
'As You
bird
It.'
to
sing
in the
place
Like voices
The
interspersed
are
lences si-
of
the
night
both
fitly
parts."
be
"
Nature,
added,
and
is sometimes
an
pected unex-
collaborator incidents
curiously enough
as
the
expected un-
usually fit in
released them
perfectly as through
notes
if the
stage
director
had
switchboard.
Professor
Dickinson
"even
THE
DRAMA
OF
THE
OPEN
125 and
the
one
seem
to
be
times
to
when
of
thunder
actor;
added and
at at
menced com-
that
tragic
has
become the
properly
clouded
just
the
when
dance.
twilight nymphs
hotly
be
debated
whether
in the There the is
one
the
open-air
or
theatre
should
utilized
only
daytime,
can
at
no
night with
doubt that
amount
artificial the
lighting.
be
a
lightingeffects
entail that
loss of
tain cer-
of the naturalness
most
of the that of
door out-
drama's smack
they
strongly
On
of the other
hackneyed
hand of
elements is
a
indoor
the
there
in the
coloring
cannot
and be
light and
Some
that
daylight.
typicallyoutdoor
a
plays
and
uncompromisingly
as lights,
demand
ficial artiand
sort
UA
can
Dream" each
"Comus." of
It
that
performance
the of
its distinctive
virtues, and
achieve
a
while
afternoon
open,
out
production beauty,
decorative
may
natural
more
the
night production
more
may
bring
and
colorful
effects. Like
must
the be
play
and
the the
setting,the
outdoor the
actor
free
from
of artificiality
indoor
126
THE
OPEN-AIR
be sincere the and
THEATRE
stage
; must
genuine
in the
best
sense.
Freedom is
carry
actor
on
from
indoor the
mannerisms
and
tions convennever
imperative;
the outdoor
"society manner"
In
a
will
stage.
peculiar sense
must
the
must
"live" with
he
have
perfect
of of the
true
sympathy
and
subtle
understanding
For the
actor
a
open-air stage
artistic
atmosphere.
there
perception
the
is, moreover,
the
open
very
deep
a
inspirationin
of exhilaration
gave
settingunder
and
sky,
sort
of soul
to
body.
Margaret
Anglin
after
expression
this
inspirational feeling
in the Hearst of
she
played "Antigone"
She said: theatre mental
"
Greek
"The in
experience
California that
an
playing
intoxicant I have
to
feel. I have
formance perwas
so
myself
known
and
played equal
years
many
parts
"
anything
the
at
so
Berkeley
so
three
ago.
heavy with
near
perfume,
one
and
bright
so
the
earth, with
radiant it
was
no
planet
great
beneath know
pany. com-
hanging just
task Attic
to
above
the
altar, that
and believe
span
the
centuries this
same
oneself
skies; and
else
to
name
exaltation
to
(I
the
don't
how
it) seemed
seize
whole
The
was
usual
utterlyabsent,
calm
place
came
an
dinary extraor-
which
seemed
almost
religious. When
THE it
ever
DRAMA
I believe in my
OF
THE
OPEN
was
was
happier
before
the
pure
work."
of
a
Just
in the
as
poetry
play
may
be
enjoyed
the
open-air, although
indoors,
so
it may
only
bore
ence audiof
the
actors'
beautiful
for and its the
are
intonation sake
the
lines
may
be
enjoyed
own
out-oftion enuncia-
doors.
The
slurring voice
careless
of many
to
professional actors
ear
doubly offensive
haps Perof the
the
trained
in
an
open-air production.
emotional attention of tension
the greater
holds
mere
the
beyond speech;
the
or
membrance re-
haps per-
it is because
are
the
to
spectator's perceptions
note
keener
quicker
rise
to
any
lapse
to
any
new
beauties; but
intonation offensive
too,
is
more
pleasing
than
on
and
speech
more
here
the
nary ordi-
stage. which
dramatic in the has
It seems, done
so
that
to
the
"star
system,"
sincere
much is
discourage
effort in America,
open.
peculiarly out
the the that the is
so
of
place
One her
reason
is that
upon
"star"
usually
depends
of
a
for
popularity
interpretation
sort
emotional
part,
and of
of of
part
the
usually
open.
characteristic
drama
system,
moreover,
undemocratic
that
entirely out
forms
of
of
keeping with
art
the
more
democratic
dramatic
128
THE
OPEN-AIR
THEATRE
abilities have
The
the
required
led
to
in
successful
of
out-of-doors
of
the
formation each
year
companies
from the
travel
community
permanent
community
senting pre-
plays in
or
few
open-air theatres,
and this in
sort
in
improvised settingson
The
was
lawns, in woods
company
gardens.
in America has
first that in
important
of
organized by
of of the the
Ben
Greet, who
and
pioneered
many
really valuable
theatre.
bands of
progressive
The
actors
movements
best is that
known
of
the
present
open-air
Coburn. Coburn Middle
organized by Charles
to
Douville
year
From
April
August through
of the
each
the and
Players
Western
and
travel
Eastern
at
States, appearing
clubs. Their
universities, schools
teen sixuAs "The
country
of
repertoire includes
and
Shakespeare's comedies
It," of
course,
tragedies
"
You
Like
'Twelfth
Night,"
"Romeo
several "Electra"
Merry
Wives
of Windsor," and
"Hamlet,"
and of
the and
Juliet," "Othello,"
Greek classics
"
others; and
notably Euripides'
"Iphigenia
three
of
in Tauris."
added
Percy Mackaye's
"The
the
list, "Jeanne
and
d'Arc,"
masque
Canterbury Pilgrims"
and
the
bird
"Sanctuary,"
"The Yellow
The
they
have G. C.
played
Hazelton
fully success-
Jacket," by
company
was
and the
Benrimo.
organized with
DRAMA
of the
OF
THE
OPEN
129
intention
doing
away
with
the
evils of
for the
system,
any
one
part.
of
The the
plays
were
with
the
more
intention
than the
making
productions
Mr. and ing seek-
something
Coburn
mere
entertainments.
realized
educational
inspirationalforce latent
audiences intelligent
the ideal
drama,
been
and
to
by
able
achieve
tainment entermunities com-
of the
higher types of
forward of the
the
dramatic
art:
Many
the
visit of
Coburn
Players
as
one
and
other
this company
to
perhaps has
the
outdoor
any
establish of
production
permanent
part
dramatic
life in America.
The the
open
very and of
definite relation
national
between
be
seen
the
drama
of great
life of
can
in the
number
pageants
civic communities
and in the
presented
interest the
open.
communal
dramatic strictly
that significant
productions in Mackaye,
"civic
It is
Percy
of
for the
an
the
leading
turns to
American the
exponent
theatre
drama,"
open-air
adequate
setting for
alone
makes
his
operation co-
communal
the
people
that
possible
130 the
more
THE
finest than of
a
OPEN-AIR
THEATRE
drama. has Mr.
interpretation of
any
Mackaye
the
other
writer
shown
truly national
as
drama
developing
indoor
theatre
out
at
present
theatre
constituted, and
escape
pointed
that
the
must
from
can
speculativelimitations
as a
before the
it
develop
vital
expression
of
the
life of the
people.
of the
open
The
are
civic
of possibilities
drama
sees
unlimited. indoor
work
Already
theatre
to
one
that
take
while
the
exists to
rest
men's
minds
and
afford
not
in idle
rest
open-air theatre
men
only
and in
new
a
affords
to
new
ideals.
more
world
and
needs
more
the
indoor
wholesome
it
now
vital form
that
in which
exists ; and
particularsthe form
after the
doubtless of the
will
gradually
:
changed
pattern
more
open-air theatre
without
drama But the of the
building will
and with
become
democratic,
for
good
seats to
all; and
the
presented will
there drama the
many
be close
people.
that the
art
difference:
indoor
stage
unavoidably
few
"
to
stir drama In
emotionally
whereas
the and
outdoor national.
is the
distinctlysocial,
one
communal
participance,the
meet
indoor theatre
theatre
the
outdoor
THE
and
DRAMA
OF
THE
OPEN
the
131
"
the
of inspirational possibilities It is
latter
that union
are
hardly
to
be
expected
the sober in the
any
community
and
will rise to is
seen
of
religion which
of the is
a
outdoor
Play
indeed
the
villagers of Ober-Ammergau,
to
where
desire
very
be
productions
and clean
potent
but the
one
incentive
may
clean
living
the
thinking;
therein
drama who
life of
every
citizen
retains
primal
religiousand
At is the
dramatic
instincts.
at
present
of
time,
by
force of
circumstances life.
flowing
it
was
rent cur-
human
Perhaps
a
because
long
cause be-
ago
pushed
men
aside
were
by
simply
affairs
to
busy with
governmental
and the
economic
remember
it, very
the has
certainly
bounds and
to
indoor
theatre
has
passed
It
outside
of is
at
community
now
responsibility.
and
long
as
been
in
private hands,
true
insofar
it has
to
do
all with
art
dramatic
art, It
it exists is
exploit that
for
private gain.
distinctlycommercial.
as
The
it is free
from in
this
some
the
was
conditions of
an
of
state
that
time
when
Greek
drama
part
and
the
administration of the
of
munal com-
affairs
expression
people's reli-
32
THE
OPEN-AIR
THEATRE
gion,
and
of
that
other
time
when ritual.
the
the
church
The
veloped de-
drama
as
part
drama
of
its
open-air
hands
as
theatre
is
returning
force,
of their
to
people's
a
religious
and
is
becoming
life.
medium
of
expression
spiritual
APPENDIX
(This
appendix
contains
material
which
is
signed de-
to
be
of
use
to
architects
and
others
who
be may-
charged
with
the
actual
creation
of
an
open-air
playhouse.
As
it
includes
repetitions,
in
more
tailed de-
form,
of
much
that
has
been
described
briefly
in
earlier
chapters,
the
general
reader
will
be
wise
to
skip
it.
The
architect,
however,
will,
it
is
hoped,
find
it
of
practical
assistance
in
determining
the
details
of
his
design.)
136
THE
OPEN-AIR
abandon
of money
THEATRE type
to
entirely,
are
saving
two
object. There
of stage
in and
general
possible arrangements
first,a bowl;
low stage
a
auditorium: auditorium
or
with
sharply sloping
flat the
and
second,
saucer-shaped auditorium.
arrangement
site is for flat
is
ground.
is
a
flat, or
if there
choice of hollows,
this
architect
to
should
keep
and
in
mind
principle,
:
the Greeks
to
voiced
by Vitruvius
As
Never
theatre
the
south.
occurs
the
in
modern
time day-
performance
the the theatre should in the
a
usually
not
the
as
afternoon,
a
face
the
west,
rule, for
with
the
a
glare
spectators'eyes
theatre
eyes
interferes
east
illusion; and
similar
facing
of
would
permit
The
glare
for
an
in the
the
actors.
facing
is to That
open-air structure
or a
in the
to
United
east
the
north,
little
the
of of
arrangement
to
provides
and be
actor.
the
maximum
In
cases
fort com-
spectator
where
the
ideal
facing cannot
may
obtained, much
the
of the
of
fort discom-
be
prevented by
at
planting
quick-
growing
shadow
tall trees,
across
points where
in the
a
the
theatre site of
Occasionallythe
some
theatre
by
the
unusual
bit of
natural
beauty.
the
Thus audience
at
Peterborough
Pageant
Theatre
looks
PLANNING
AND
CONSTRUCTION
Mt. of Monadnock in the theatre
out
beyond
the
the
stage
to
'University
and
rear
Wisconsin Greek
Mendota,
the that
an
in the
Theatre
been may and been
to
at
usual
a
stage-wall has
little
omitted stand
chaste
temple
of
ocean
against
inspiring sweep
in America of
or
sky.
take
The
tendency
advantage
of
late has
full
every
sea,
some
attractive and
some
vista
set
of
mountain,
lake, woods,
with
bit of this
to
the
stage
entirely
or
relation
to
such is to
individual
serve
local
uses,
beauty.
If the theatre of
nature
certain the
not
utilization
a
is wise;
but does
custom
offers
to pitfall
the
architect
kinds
on
who
stand underand
sence es-
fullythe
their
several
demands
of the
a
outdoor
theatre.
drama
distinctive
of the matter
The
is this: in
theatre
designed
every every
for
pageants
or
for
spectacular masques,
should
the be
sum
possible
added
beauty
of
nature
utilized,as
total
of
loveliness But
vista
prove
increases
effectiveness.
in
theatre
the
designed chieflyfor
trees
or across a
pure
drama,
is
through
an
lake
and
likelyto
more
the the
appealing
is,the
wander
more
comprehensive
is to
outlook
likelythe spectator
from other the
away
stage
and
what
theatre
there. for
In
words,
if the
is
the
stage may
138
THE
be
OPEN-AIR
and the vistas
THEATRE
behind
are
ably
as
as
open
it
as
appealing
be
possible; but
if the
productions
and the
to
chiefly
in
closed en-
plays, in which
the action
as
cumulative
sustained
should be
interest be
as
is necessary,
stage
possible and
bits To the
to
especiallyshould
free from
distant
owner
compelling background.
must
of
landscape beauty
have
the of theatre
in the
right,the
and the
choose
must
sort
production,
type
said be of that
tect archi-
plan
often
production.
whenever
as a
Very
a
it has
possible
of the
lake
or
stream
an
should
utilized
The
part
stage
meant
of but
open-air
be
theatre.
advice before
is well
tance. accep-
it should
well
considered
remember
The
architect who
should
it
are
that
here
one
again those
direction
masque.
give
interested
in the
or
in
only
of A
outdoor
production,
that is half
or
pageant
a
and
to
stage
can
lake,
sail
some on
stage
which
may
the afford
actors
canoe
real the
can
river,
most
the
opportunity for
and
a
of that
beautiful
entrances
;
tableaus
be
imagined
as a
but
such
true
stage
dramatic
will
probably
fail
entirely
fact
settingfor
it is
so
The
of
very
that In
open
precludes
interest.
general arrangement
vary
are
open-air
are
theatres short
very
of
and
all types
fat,
some
thin,
some
are
much
up-and-down,
almost
REMAINS
OF
THE
ANCIENT
THEATRE
AT
FIESOLE,
OF THE
ITALY.
THE
PHOTOGRAPH
CLEARLY
ILLUSTRATES
MANY
STRUCTURAL
FEATURES
OF
THE
ROMAN
THEATRE.
THE
ARRANGEMENT
OF
LOW
STEPS
BELOW
THE
DIAZOMA
IS
TYPICAL
OF
THEATRES
OF
THE
LATE
ROMAN
PERIOD.
PLANNING
AND
CONSTRUCTION of seats,
and
or
very
steep
But
terraces
one
some
are
flat. the
every
in all
primary
consideration
must
arrangement
the
sight lines
be
every
clear
from
to
portion of
the
Of
the
two
typical systems,
and
the
low
stage
with
the
high
narrow
with
was
flat
or
saucer-shaped auditorium,
used
the their
always
The took
was
by
was
the
Greeks
necessary
in
theatres.
the usual
steep
slope
in the
action
place
about
orchestra
circle.
slope
thirty degrees.
to
When
Romans
the
carried
the action
the
stage,
the
they pushed
orchestra and its
auditorium
forward,
cutting
a
old
circle,or
that
dancing place, to
seats.
half-circle
filling
steep
that
now
with
The had
auditorium
to
kept
slope, but
the
sat actors
the
stage
be
be
raised
in order those
might
clearly seen
So the Roman the
by
who
in the
orchestra.
theatres
one
usually
and the
have
the
steep
of
auditorium
the other. the
of
type,
best of
high stage
example
the of
Perhaps the
Greek
modern
to fidelity at
system
levels
Here
is
theatre
Point floor
Loma,
is used the
a
the action
wide
and
orchestra for
part
of
of
dancing, while
raised
the At
stage
building is
only
few
steps.
modern
140
THE
OPEN-AIR
THEATRE
FIRST
LOW
STAGE
-
TYPE
STEEP
SECOND
HIGH
STAGE
"
TYPE
FLAT Oft SHALLOW
AUDITORIUM
AUD.
Tvf
JCAL
EARLY
GREEK
USUAL
GARDEN
THEATRE
TYPE
rn-n
Orchestra
TYPICAL
ROMAN
SHAPED
VARIATION
COMBINED
A*
TYPES
~4 "*
HILLSIDE
Bohemian
STAGE
6rove Theatre
Type
"t lV.mp.JJ
Diagram
showing
variations
of
the and
two
typical relations
between
auditorium
stage.
142
THE
OPEN-AIR
THEATRE
structure
not
true
open-air
drama,
but
theatre
cially espean
merely
lifted
indoor
theatre
with
of
auditorium
roof
as
off.
to
Typical examples
garden
the and the theatres
arrangement
found
at
applied
may
Villa
Gori, where
about three
floor feet
the
stage
high,
Villa
Marlia,
where
the
floor
stage
of
to
floor
higher. slope
the back of
garden
"
slightlyfrom
the
front
method
of
helping
the
difficult will do
an
lem probto
architect
well
remember.
"Ragdale
modelled after
Ring,"
that
two at
American
garden
front above and of
Villa
Gori, the
feet of
one
stage
is
only
and
one-half
a
level
auditorium
more
floor, but
the
rise
one-half the
feet makes
between
front
and
rear
stage
the total
is found
cases
height sufficient.
in
The
flat auditorium
floor in many
on
nearly
all
garden by
one
theatres, but
or
two at
terraces
higher
little theatre
space
are
Mannheim,
to
Germany,
the the
central best
seats
is contracted
at
minimum,
second the
the
front
on
of
terrace,
which of
is practically the
most
the
level of
stage.
One is the
interesting stage
Grove Theatre.
arrangements
Here
Bohemian
a
the main
stage
is
few
feet
THE
GREEK
THEATRE
PLAN
OF
THE GALEN
HEARST
GREEK
THEATRE.
[JOHN
HOWARD,
ARCHITECT]
PLANNING
AND
CONSTRUCTION
and behind it
above
a
the
auditorium,
very
steep
hillside; and
have
so
along
erected action
that
at
platform stages
above several the levels.
now
been that
intervals, one
take
other,
may
place
on
Turning they
affect
from
the
matter
of of
a
as sight-lines
the
relative
while the
levels
to
stage
moment
and
to
it is worth
pause
how
One
sense
they affect
would
lead
general shape
the
of
the
common
atre. the-
that
would
determine
lines
of
by
depth, width
is
shape
of the and
but
continuallyone
where
half the
findingboth
indoor
outdoor
seats
common can
theatres
see
spectators stage.
insure
in the
outmost
but
the
to
There
are
three
arrangements
laterally:first,a
very
semi-circular
auditorium
wide
and
shallow
a
stage;
second,
fan-shaped
;
auditorium
a
facing
wedge-shaped facing
a
stage
and
third,
rectangular
same
auditorium
rectangular stage
all In had the
more
of the The
width.
and Roman theatres
Greek of
toriums audi-
the
semi-circular
the
rows
type.
early
than
curve
times some-
Greek
a
structures
of seats
formed ends
a
sometimes half-circle,
on
having
the
of the and
prolonged
tangents,
a
forming
"U,"
of
a
making
perfect two-thirds
circle.
But
PLANNING
the be
AND
145
as
soon
as
action
orchestra
or
dancing
circle, to
was
confined
to
the
stage,
the
auditorium of the
to
shortened
the The
half-circle architect
Roman the
theatre.* type
returns
Greek
only
at
to
adding
number the
of
Cranto
unsatisfactoryseats
brook the the Greek Theatre semi-circle. of the
structure.
At
auditorium the
are
exact
Hearst
ends
a
semi-circle
not
extended
to
along
gents tan-
few
feet, but
enough
interfere
for
a
in the theatre
the
Garfield almost
Chicago,
the of
a
auditorium
a
terraces
but circle,
there
is
certain
compensation
the
fore-stageis pushed
into the could
as
out
between
but for
proscenium
columns
tra; orches-
still the
more
sight-lines never
half be the
be
tory satisfac-
than
audience,
or
rear-stage
would
at
partly
end
a
wholly
the if
from
It the
a
large
may
sections
each
as
of
auditorium.
one
be
put
down
rule
one
that
must
adopts
semi-circular stage
rows
auditorium,
as
also
plan for
outmost
a
almost of
seats.
wide The
as
the
diameter
of the
wide of the
shallow
stage
classic is
is
sary neces-
accompaniment
form.
used The
large
auditorium
semi-circular
auditorium because
successfully
the
in
garden
*
theatres,
there
II.
stage
See
comparative
plans in Appendix
146
almost
Of
THE
OPEN-AIR
is
THEATRE wide
the
invariably
the second and and
as
as
auditorium.
are common
third
types, which
in
nature
garden theatres,
little need
be
said.
Plan
An
of
the
Butterick
Memorial
Theatre,
auditorium.
Sterling,
Frank
Massachusetts.
A.
example
of
the
fan-shaped
Waugh,
Architect.
It is obvious auditorium
take and
must
that
if the
stage
is
wedge-shaped, along
of
the
will
naturally widen
from the
out
their if the be
direction stage
is
side-lines
stage; width
The
rectangular,the auditorium
to
limited
almost
that
of
the
stage.
rectangular auditorium
permits
the
largest possible
148
THE
in
OPEN-AIR different
THEATRE
plane
or
atmosphere from
in
action
is better the
understood in this
Europe
too
in America,
architect
country
often
crowding
At
auditorium
directlyagainst
Theatre,
to
the
stage-front.
a
little Brookside of
was
ever, howat
sloping
turf,
similar
that
Theatre,
of
constructed
a
with
and
at
a
the the
creating
break,
St.
Pageant
serves
Theatre,
the
same
and
elsewhere,
channel
purpose.
The far
matter
a
of
acoustics in
is far
less
puzzle
than
and
less
gamble
open-air
that In
theatres
an
within
theatre of
doors.
It is very in this
seldom
outdoor
suffers
nature
particular.
and
the
open
construction
theatres the
the
more
types
of of
garden
the site
theatre,
settle
natural
acoustic If
properties
are
the
matter.
to
they
bad,
the
are
architect
will do
chances
well
are
go
elsewhere;
if
they
be
good, by
the the
that and
not
changed
in the sites
seem
slightgrading
of
entailed
shaping
to
stage
and
auditorium.
for
Certain
be
perfectlyshaped
waves.
the proper
distribution
Theatre
of sound
every
to
At
can
the be
Brookside heard
Garden
whisper
probably
side, which
and the
the also
conformation
create
a
of the
either
charming Ring,
sense
of
the
intimacy
hand,
seclusion. unfortu-
At
Ragdale
on
other
PLANNING
AND
CONSTRUCTION
in
149
nate
placing of
question
and of of
the theatre
an
the
hearing dependent
conditions. noted in
changing only
other
winds
case
atmospheric
acoustics the
very
The
American
bad is at
open-air
atre" Thebecause instead
is
so
theatres
at
attractive
little "Greek
Bakersfield, California.
of the
Perhaps
colonnade
the of the
a
rear
stage
or
is
an
open
solid sound
wall,
waves
because
the
low,
diffuse
formal
badly.
architect
trees
planned
behind the the
planting openings
this may
cannot
and the
colonnade and
about the
auditorium,
the
correct
fault.
present
without the
theatre
be
satisfactorilyused
the
a
heavy hangings
it is to of be this It is the
between
columns. broken
On
whole
doubted
sort
whether will
ever
stage
background
prove
adequate
the
acoustically.
like
undoubtedly
theatre of
true
that
bowl-
shape
the
of
classic
has
seats
semicircular
rings
the
the
high
back
stage
no
wall
holding in
sound
and
ten
yet
giving
echo.
into of them
Occasionally nearly
the
can
thousand
and
people
every
crowd
one
Hearst hear
on
Greek
Theatre,
words
spoken
in
ordinary conversational
for the
tones
Vitruvius
of
to
gives elaborate
ing plac-
bronze
accentuate
perfectlyto
distribute
the
150
THE
OPEN-AIR But
in the
THEATRE
absence the
sound-waves.
of
any
definite
sence ab-
proofs
of
the
of efficacy
device, and
in the
may
of modern
hesitate
to
well
recommend
to
no
Turning
said
been
masonry
the
more
matter
of stage
details,it
may
be
ever
that
satisfyingbackground
for real its drama than of it
was
has
invented
the columns.
Greek
In
to
wall, with
Greek this
at
single row
theatres
both
and
Roman
customary
have stage
end
long wall
the
running
and
the
full
length
of
the
back,
extending forward
There is
a
at
each
of the
stage
platform.
among
very
spirited
as
controversy whether
the
on
a
raging
action raised
archaeologists
Greek theatre
or
to
in
took
place
the that
partly
level
the
as a
platform stage
floor.
up
entirelyon
of
the
orchestra
But
the
it is certain orchestra
Romans,
entirelygiving
for
circle
and the the
place
the
action, constructed
drama has it is
no
high stages;
counterpart
natural Roman of the nine of that
modern
dancing chorus,
architect raised
only
the
follow
The from the
system stages
feet. in At
build
height
five
to
Roman
theatres Greek
the Hearst
the
stage
is six feet
rear
above
orchestra
circle.
more
stage
wall
depends
upon
the
of the auditorium
PLANNING bowl
set
on
CONSTRUCTION
of the the
151
upon
as
stage.
of the
Vitruvius wall
or
law
of the
top
must
be the
as a
level the of
highest
tier of
seats, At
of
top
matter
surrounding portico.
fact, the
feet
Orange,
stage
hundred
and
eighteen
than
above
the
floor, is much
the
higher
the
the
auditorium
the
Aspendus
top
of
wall
top
of the
colonnade
which
surrounds The
are
so
auditorium.
stage
far in
buildings decay
that
of
the-
truly Greek
to
it is of the
impossible
stage
is
reasonably
Hearst
the
heights
Theatre
walls.
Greek the
the
wall
slightlyhigher
feet above is
no
than
auditorium,
In
rising forty-two
the wall
the
stage-floor.
that the Greek
decorating
architect of
a
there better of
doubt follow
than of
two
modern
will
do
to
the
to
or
system
the
rows
single row
Roman and
columns system
adopt
three other.
over-elaborate
of In
columns
Greek
one pilasters,
above
a sense
the of
the
a
system
there
is
dignity and
action. absurd
which
serious
cept ex-
should dramatic
an
characterize
But
background
all, there convention,
prevent
of
of
after
to
is
nothing
and
a
slavery
total archi-
lack
of
artistic initiative,to
rules be found for in the
American
and
Vitruvius' will
construction II.
Greek
Roman
theatres
Appendix
152
tects
THE
from
OPEN-AIR
THEATRE forms of
inventing entirelynew
for the
in the in
design
and
decoration The
entrances
stage
wall.
were
classic theatres
the wall
at
usually
back,
and
five: three
one
doorways
end. of the To
the
at
a
each
provide
size
less than be
this number
in
are
theatre
large
Hearst
small
would
unwise.
and
even
There the
has
five
at
Greek stage
Theatre,
at
comparatively
as
building
is
an
Bradfield
at
many.
At
Cranbrook
of
there the
entrance
each
side,
to
and
three-fifths the
to
rear-wall
is left open
matter
show
pool
stages
and
on
rear
stage.
The
of
entrances
mere
which
the stage
a
buildings are
At the Point
colonnades,
there is
is
one
always
way
puzzle. reaching
Loma without
only
seen
of
stage
up
being
the
by the
audience:
at
by coming
the back be the of
through temple.
if the
canyon.
precipitous gulch
that
were
the
Even
entrance not
would
at
impossible
head is of
a
theatre
In
situated
an
of
general
such
arrangement
ous seri-
handicap except
and
in the
production
entrances
pageants
exits
are
festivals,where
formal
and
unnecessary.
The
vary
sizes
of the stages
At
of theatres
the
of classic type
is
over
greatly.
feet of the
and
Orange
and
stage
two
hundred stage
wide
Greek
The
one
Theatre
Berkeley
is
hundred
by twenty-eightfeet. thirty-three
That
TWO
VIEWS
OF
THE
GREEK-ROMAN STRUCTURAL
THEATRE FEATURES.
AT
PRIENE,
SHOWING
UNIQUE
154
not
OPEN-AIR feet
feet
THEATRE
twenty
deep.
on
A the
stage
other
more
than
or a
thirty-five or
more
forty
wide,
hand,
in
than
prove
unwieldy
theatre
garden
The
theatre.
background
of
the
garden
stage The
nearly always
arrangement
is formed and
on
by clipped hedges.
of these
proportions
each
an
hedges,
usually placed
rows,
side of
the
stage
in converging
afford
The
interestingproblem
Villa theatres show
for
the
Italian
can
what
effects
this sort. of
be
gained with
are
backgrounds
set
of
against masses
Villa Gori the
less formal
at
the
conventional the
is
maintained
the
at
only
three
showing
above
one
being
the of
tall cypresses,
at
the
centre
of axis
hedge
the
the
back
and
the At
one
other time
the
front
very
stage-wall. popular
trellises The of in
became
garden
theatre
vari-formed
formal
hedges.
is
one
garden
the finest
theatre
at
Mannheim,
Germany,
this type.
existingexamples of
that
are
The
combinations
possible with
the tect archi-
treillage-work and
who
can
hedges
upon
to
are
and infinite,
a
is called the
design
garden playhouse
study
used
type
with
advantage.
in
Pergolas
the
same
have
way,
been
very
successfully
PLANNING
AND
CONSTRUCTION
informal
155
masses
more
The
finest
a
example
is
at
in
America
stage
by
Kisco.
pergola
the
Brookside
Mt.
^)
to
The
entrances
the
stage
than
are
more
easily arranged
other
garden
of
theatre form
in any
type.
and in
hedges
"wings,"
to
informal the
groups
sorts
leave
gaps
of
shrubs of
trees.
accompanying
show
the
plans
representativegarden
A
usual
arrangement.
point that
there
from
is sometimes
must
be
ways
to
the
wings,
at
the
audience. hidden
arrangement
run
the
Gori,
by which
from
passages
between
to
the
good;
at
but
less
simple arrangement
there side is also very of the
Villa
Marlia, where
at
come welAt
sage pas-
working-space
the Villa
to actors
either other
across
stage.
is
no
Collodi,
the
on
the
hand, there
the front
wings except
been its
stage, the
the
dience au-
having
took
obliged
to
gather
enter
before in full
place, or
else to
sight of
the
spectators.
Although
stage theatre
is
the
floor of
of
stone
the
or
architectural
cement,
a
theatre's
usually
more
the
garden
may
appropriately have
floor of sod,
Palace
I
VILLA
3ERRAGLIO
VILLA
SERGARDI
COMPARATIVE
PLANS
OF
ITALIAN
GARDEN
THEATRES
VILLA
MARLIA:
Stage
main auditorium cypress; terraces level, with two and stage. VILLA ilex
floor of turf, slightly sloping; wings of flat,of turf, about four feet below stage
at
hedge
GORI:
yew
hedge prompter's
behind shelter
auditorium,
at
front of
cypress,
with ilex
Stage floor of gravel, slightly sloping; wings of feet high; auditorium 3^2 feet below stage level, and "broderie" elaborate turf gravel; twelve-foot of pattern with Hex behind auditorium, fifteen-foot hedge surrounding hedge
twelve
all;
entrance
through
ilex
tunnel.
PLANNING
AND
CONSTRUCTION
157
or
gravel tamped
cases,
hard the
with
has
green
satisfactory in
fits in
more
some
but
usually
the
harmoniously
the
general composition.
Of
stage be
detail
of
the
the
so
nature
theatre
very
little need
are so
said. and
Indeed,
stage arrangements
various,
depend
that There
largely upon
cardinal
the
isting ex-
background
can
nothing approaching
is
one
rules
be
formulated.
principle,
in the mind: ground. back-
however,
never
which
a
the
architect
to
must
keep
into
nature
allow The
building
first virtue
or
intrude
of the
theatre
is
the
a
naturalness,
even
wildness
of
its
setting,and
distant
building, even
strikes
a
if
trees, In of
discordant with
connection
rooms
stage
must
the
matter
dressing
In is
the
purely architectural
solved,
wishes
as
theatres
may
problem
easily
he the side.
the
architect the
build
whatever
behind
of
stage
theatre
wall, without
from the
marring
audience's
appearance
VILLA
the
foot feet
tenfloor of gravel; wings of yew; auditorium and wings; four hedge surrounding stage yew below level, of gravel, with eight stone seats; stage prompt' er's box at front of stage. VILLA SERGARDI: walk, gravel floor of turf within Stage slightly sloping ; wings of ilex, eighteen feet high, joining at top tunnels with for entrances; forming surrounding twenty-foot hedge, auditorium with formed topiary work; hedges decorated level. by court four feet below stage
SERRAGLIO:
Stage
158
Some of
THE
the
OPEN-AIR
old Greek of and
THEATRE
Roman
theatres
space
had
under
some
elaborate
the
systems
dressing-rooms, the
for this
purpose
stage
being
In
utilized
in
examples.
also the
or
the
garden
the
theatre
the
problem
is
relatively simple, as
space
more
entire stage
available But
is enclosed,
outside
the
wings being
structures.
for
tents
permanent with
the
in nature
atres, the-
maximum
is very in offers
a
openness
in all
directions,
a
the
tent
question often
may
a
puzzling. clump
of
Sometimes
and
times some-
be
hidden
trees, At the
creek-bed
shelter.
large
atre the-
Klampenborg
are
Woods,
under the
near
Copenhagen,
but
dressing-rooms
wooden
a
the
stage;
here
stage-front,and
note
necessary
windows,
should have
false
in
structure
as
which
as
character
go
sort
to
far
possible. Long
costumes
are
actors
change
their and
disastrous
to
some
in any
of
production,
close
to
it is proper
even
build
dressing-rooms
other the
the
stage
the
at
sacrifice in
not
directions; but
sacrifice into
should
the
entail
bringing
of
false
notes
composition.
Of other well
stage
accessories, the
consideration. this
prompter's
In
was
on
box
den gar-
may
claim of
a
serious
the
common.
theatres
Italy
rounded
feature
open
Usually
it
was
shelter,
the
stagestage-
PLANNING
AND
CONSTRUCTION
to
159 sit in
wall,
and
man
fortably. com-
shelter the
may
be
constructed often
very
unobtrusively, from
to
appearing
that masks
any
be
merely
an
enlargement
In
hedge
the
stage
retaining-wall.
is
Greek
and
theatres
in the the side
a
such
theatre in
a
construction it
impossible,
to
nature
usually
of
is necessary
or
place
one
shelter
of the
clump
But
the
a
trees
shrubs
at
stage.
wherever
director
practicable
of
it is
valuable
help
As
to to
productions.
the
hidden
position for
has There is
orchestra, no
been
arrangement Greek
the theatres.
yet
invented ridiculous
for
a
something
sight
a
of
musicians feet
is the
a
fiddling away
the
centre
dear
within
few
of
of
stage
at
where
Moreover musicians'
night lights
the
in
often well
weighty
be of that the
factor
a recess
destroying
could be
illusion.
It
might
the
hollowed
the
chestra or-
under
front
be the
wherein stage-floor,
could
not
hidden effect of
an
by
grating
music.
that In
destroy
the
garden
left for
theatre the
design,
enclosed
one
recess
should stage,
as a
musicians
at
side that
of
the
failing
the
course,
hedge
serves
"back-drop."
is from all of
any
since the
the
construction
hedges
trees,
sound
will carry
160
THE
the
OPEN-AIR
the
THEATRE auditorium.
can
point
the
any
near
stage
in
a
to
Similarly
be hidden the
orchestra
convenient the
nature
theatre and
by
clump
at
a
of trees,
often from
placing
stage
of and the
musicians
the
audience
will add
In
a
detract
from,
effect.
theatre
with
be the
comparatively flat
for the orchestra This
auditorium
sunk
immediately
arrangement Grove
covered existence
front
been
of
stage
at
platform.
the
has
adopted
a
Bohemian
bank
Theatre,
with from for ferns
where
hides
slightly sloping
the A in the
even
fact
of
the
recess
pit's
is
at
the the
audience.
similar
nature
provided
Vassar In
orchestra
theatre
College.
the
matter
of detail has If
to
of
auditorium
little
to
construction
the
the
of
are
architect the
seats.
consider these of
are
beyond
of choose
shape
there
be
to
wood,
from.
numerous
types
benches be of
If
a
the
construction
is to
probably
But
will be
stone,
if the
to to
be
architect
will
do for
well
go
to
the of
Greek
and
Roman
are
theatres
ally unusu-
models.
the
as
arrangements
The
to
graceful
of each
terrace
well
of
practical.
was
usual
rise
seats
sixteen
eighteen
to
inches, while
the
"tread"
was
twenty-four
a
thirty
giving
slope satisfactory
AND
CONSTRUCTION
At the
161
to
auditorium.
rise is between
Hearst
and
Greek
Theatre
seventeen
eighteen
below
the
inches, and
the where
tread
diazoma,
and the
the
only
As
high
tread
thirty-six deep.
is below the
the
portion
the
such In
row
of the
auditorium step
is
level of the
of
stage
six-inch
a
adequate
"
although
the
use was
course,
small
necessary
of chairs.
the
ancient "chairs
at
theatres
there
usually
carved
of
honor/'
outer
elaborately
the of of the the
from circle.
the
marble,
The
edge of
the
seats
some
orchestra
photograph
at
of
priests in
finest of is the has
theatre chairs.
modern
Athens,
shows
these
The
Hearst in
Greek
Theatre this of
only
been been
structure
which
seats
feature
copied, eight
marble
at
honor of
having
the
placed already
The
a
the of
front the
edge
diazoma. is
auditorium
garden theatre
which
An Villa At is
an
usually
are
pit with
at
turf
times
or
gravel floor, on
of
chairs
placed
among
performances.
theatres
stone
exception Serraglio,
the Villa
Italian
are
is
at
where
Gori
eight
of the
benches.
floor
auditorium
and
narrow
elaborate
"broderie"
design
each
of turf
seat
gravel walks.
to
Ordinarily
width
of
is considered and
occupy
a
depth
an
of
thirty-threeto
although
even
62
THE
OPEN-AIR of space
THEATRE
is wise in the
larger allotment
At the smaller
out-of-doors.
occupy
seat
will
square
feet.
can
with
these
figures,the
calculation
by
the
easy
mathematical
any
of seating-capacity
given plot of
ground.
The
problem
of
lightingan
is
one
open-air
most
theatre
for
of
night performances
all that the of
of the
must
perplexing
In the
architect
meet.
large
is is in
structures
the
architectural
out
a
type,
it especially, that
difficult to
work
stage-lightingsystem
a
adequate without
the
eyes
creating
of the the
disillusioning glare
At the
of
at
part
audience.
Theatre
Berkeley
and
system
Here
has the
a
proved
set
time is
a
again.
only
row
of
masked the
footlights in
This
shallow
along
stage-front.
a
is sometimes
on
by
the and of
torium audi-
side, suspended
stage,
centre
by
the
are
"spot-lights"
diazoma. noticeable But from
thrown
always
certain sit close
suspended
and
lamps
seats,
to
invariably
the
spectators
are
who
the
spot-lightmachines
the
disturbed
by
the
the
sputtering of
the
lamps,
are
and
by
the
glare
their
of
lightswhen
screens.
operators
ing shiftvery
colored of the
Moreover
are
the
movements
operators
an
interruption and
PLANNING
AND
CONSTRUCTION
163
will be
is the which with
manently per-
an
annoyance.
The
only
solution
a
that
satisfactoryin
of
such
or
theatre shelters
ing build-
temporary
will
holes The
machines
operators,
streams
the of
stage
a
new
side
of Greek
light.
or
designer
theatre
of
the
tectural archi-
type
of
might
well
consider for
the the
advisability
settingin permanent
the
centre
boxes
light-machines,
at
under of the
of
the
auditorium
the
height
stage.
the
more
In
the of
one
flexible
nature
garden
theatres A
row
becomes be
simpler. by
a
always
a
log
the
by
be
miniature
hedge
moreover,
in
Side
any
thrown,
from
or
the
to
wings,
hide
the
hedges
actual
Grove
clumps
from the
shrubs audience.
serving
At
trees
the
lamps
Theatre
the and
Bohemian shrubs
at
of stage
has rich
the
sides
of the of
narrow
made and of
possible the
subtle the
achievement effects.
at
were
ably remarkthe
light
deep stage
In
not
cover
garden
the
theatre
offered
grasp.
opportunities which
this theatre
to
source
use
owners
is made the
of
alone the
frame of
stage
certain
lights.
utilityof
a
such
columns
in
distributingthe
lights, is
large
64
in
THE
OPEN-AIR
the
THEATRE
determining
and the
adoption
; not
of
this feature
theatres the
any
garden
architect
theatres does
and
in those
to
wish
disturb
of each
natural such
of
look
by
the
permanent
can
introduction be the
formal
feature, sockets
left
at
side the
the
stage-front,into which
can
columns the
with
times Hermann
lightingequipment night
Rosse
an
be The
fitted
just at
of
performances.
for the stage of
design open-air
of
by
an
theatre
to
shows
interestingarrangement
the
pylons
mask
light-
sources.
In is to front
general,
make and is to
architect's
for
duty
to
the
producer
from
the the ence audithat
provision
from
see
ample lightsboth
his
the that
sides; and
these
can
so
duty
so
to
lights are
seen
masked
not
"
be
from
the
auditorium illusion
as a
for
quickly destroys
of
glare.
The
very
open-air
stage
and
theatres
are
If the
nature
slopes, as garden
it does
a
in slightly small
many
at
theatres,
gutter
away
the
excess
front
may
prevent
damage
when
of the
a
by
the
rounding sur-
carrying
auditorium
water.
Always
the
to
pit
is sunk
below
level
ground,
outlet from
it is necessary
provide
The
the
has
a
lowest gutter
point.
on
Greek
Theatre
the
level
DESIGN ROSSE.
FOR HERE
THE THE
STAGE COLUMNS
OF
PAGEANT
THEATRE,
SHELTER
FOR
BY
HERMANN
OFFER
LIGHT-SOURCES.
66
THE
THEATRE
amiss
to
outline
of
advantages and
It would
to
a
tations limibe
as
a
each
for of the
of the
a
types.
association
ridiculous
structure to
pageant
build
rigid Greek
open
nature
must
type,
as
for
or
university
build
very
theatre
The
designer
to
weigh
the he
the size in
or
of drama the
be
presented and
of
course
audiences;
whether
the
and
keep public
gatherings will
be
private.
A theatre is the seated of the
one
Greek in which
or
purely
very
architectural
can
type
be
only
and
large crowds
The
all hear
perfectly.
at
only large
modern
seats
Greek
theatre, that
Berkeley, ordinarily
and words be
sixty-four hundred
in the
tones
people,
at
there
is
no
point
auditorium
from the
which
spoken
heard Greek
in
ordinary
stage
of the
cannot
tinctly. disand
acoustics
are
ancient
as
described
were
perfect, although
immense;
for
ample, ex-
Athens
accommodated
20,000,
about
17,000
people,
and The the
Megalopolis
Theatre of
Epidaurus
at
18,000,
20,500. like
Marcellus
Rome
partially
enclosed the
form,
the
bowlfrom
shape,
doubtless do
prevents
in the
more
sound-waves
nature
diffusingas they
The
sense
open
theatre.
to
of
enclosure,
moreover,
affords
the
PLANNING audience
the
AND
CONSTRUCTION
close
a
167
the of action
on
that
or
feelingof being
even
to
stage,
of
being
in
part
the the
action,
illusion
which
of of
is such
large factor
indoor
preserving
The
drama
in the
theatre.
Greek
any
type
other of
side out-
is better-fitted than
any
for the
of
the
ordinary forms
drama,
atmosphere
of
protection from
interruptions makes
concerts
possible the
sorts
enjoyment
demand
of
and
all other
of
that activity
one
concentration
of
of
attention.
Its
limitation
Its
is in
the
direction
and
pageant-producing.
do
not
inflexible stage
lend
themselves
and
tacles. spec-
well
as
setting for
Greek
pageants,
theatre is
masques
The excellence
the
most
theatre of
the
for
universities,where
are
productions
pageants,
are course
likelyto
concerts,
be
plays
rather and
and
where
meetings,
lectures
of
to
be
included
in the for
theatre's
any
activities;and
that
it is the
type
community widely.
series been
desires
to to
utilize
note
thus the
It is
interesting
at
although
Theatre
of
plays
the
Hearst
ways,
Greek
has
remarkable
in many totalled
the
purely
one-fourth
dramatic of
activities have
exercises of the
all the
there. theatre
a
distinctive
advantages
and
nature
type
pageants
and
for
68
THE
OPEN-AIR
THEATRE
aesthetic lectures.
concerts
dancing,
At have demands is the been
but
not
for
plays
or
meetings
Theatre
or
Peterborough given
more
Pageant
but
as
successfully,
rule
the
intimate for
atmosphere. pageant-association,
the
nature
If
building
means
he
and in in
by
cities
all
turn
to
type;
constructed
where
theatres
for
are
to
be of
public
parks
chiefly
for folk
this
the
use
the
playground
festivals,
and
departments,
similar
dances,
is
flower
best of the
activities,
characteristic
the
type.
The
garden
It the of of the and
are
derived
of but
chiefly
smallness.
same
sense
enclosure
has also the of
protection atmosphere
limited size
as
Greek
theatre,
that and is the
it
intimacy
the
results the
from
very
stage
It
closeness
the
audience
to
stage.
dramatic
perfect
and it
amateur
type
for is the
most
for
poetic
amateur
plays
readings,
of and
course,
performances.
type
for
So,
estates,
perfect
societies.*
private
for
APPENDIX
II
VITRUVIUS
ON
THE
CONSTRUCTION
OF
GREEK
AND
ROMAN
THEATRES
(Vitruvius
Augustan Age.
was
Latin
writer,
he
wrote
probably
without
on
of
the
Although
"Ten
a
literary
Books
Architecture,"
source
important
about the and here and
are
as
contemporary
and of four
of
architecture
some
building
the Greeks.
Romans,
extracts
to
extent
printed
form
chapters
work,
reprinted,
Morris
by
permission, Morgan,
from
translation the
of
Hicky
published
by
Harvard
University
Press.)
THE
THEATRE:
ITS
SITE,
FOUNDATIONS,
AND
ACOUSTICS
After for
the
the
purpose
forum of
a
has
been
arranged,
or
next, of the
seeing
as
plays
festivals
immortal
be has
gods,
for
site
healthy
in
as
possible should
with
the
selected
been
the in
theatre,
the
first
169
accordance
on
what
written
book,
principles
179
THE healthfulness
are
OPEN-AIR
THEATRE
sites
of
in
the
of
cities.
For
when
and their pores If from
plays
their wives
and the
way.
or
children,
through
from
them
spellbound,
have
bodies, motionless
open,
enjoyment,
winds find
blowing
from
their
marshy
districts
unwholesome
exhalations
quarters,
into the
they will
system.
site of
introduce
Hence,
the
such is
will be
avoided
if the
theatre
somewhat We
exposure.
must
carefully selected.
also beware the that
sun
it has shines
not
southern
upon up
When
full
the in the
part
enclosure
of
it, the
and
becomes
up,
heated;
dries
out,
the
fluids of which
human
body.
For
in such selected.
sites
to
unwholesome
respects
be
avoided,
and
healthy
The
sites
foundation
on a
walls
will be
if
an
easier
to
matter
if
on
sured as-
they
a
are
hillside ; but
a
they
have
be
laid be
plain
or
in
marshy
place, soliditymust
built in accordance
and
substructures been
with
dations foun-
what
has
written
book,
on
the
of the
up,
temples.
rows
the
foundation the
walls,
ascending
should
be
of
from and
substructures
built of
marble
materials.
EXTRACTS The
curved
FROM
cross-aisles
VITRUVIUS
should
be constructed
to
in
proportionate relation,
of the the
it is
thought,
the
height
of
theatre, but
is broad. the
not
higher than
If and
the
footway
from
passage
they
are
loftier,they will
it away the of
throw
upper
back
voice thus
drive
portion,
from
preventing
the
case-endings meaning
seats
so
words
of
reaching with
are
distinct
the
ears
those
who
in the
uppermost
be the
above
the that
cross-aisles.
a
In from
short,
the and
it should
to
contrived
seat
line drawn
lowest
highest
will Thus
touch
edges
meet
angles
no
of all the
seats.
with
obstruction.
different
entrances not
ought
connected
to
be
numerous
and
spacious,the
built in
the
not
a
upper
with
from
the
lower, but
of
continuous
all parts
house, without
be
may
that
the
people
from
may
crowded have
together when
separate
let out
shows,
without
but
exits from
all parts
obstructions.
Particular be
not
can a
pains
must
also
be
taken
that
the
"deaf"
range
one,
but
the if
to
a
one
through
which
voice
can
with
greatest
clearness.
be
no
brought about
obstruction
is
a
where
there
is
due
Voice
the
flowing breath
contact.
air, perceptibleto
in
an
hearing by
of
It
endless in-
number
circular
rounds,
like the
innumerably
172
THE
OPEN-AIR which
water,
THEATRE
creasing circular
is thrown into
waves
appear
when which
stone
on
smooth
and
centre
keep
the
or
unless
rupted inter-
by
which
in due
narrow
limits,
such
waves
by
some
obstruction
their end
prevents
formation.
from
reaching
are
When
first waves,
they
interrupted by
break
up
obstructions, the
the formation In the
same
flowing back,
follow. voice
executes
of those
manner
which
the
its
ments move-
in concentric
water
circles; but
while
on
in the
a
case
of
face, sur-
the
the
circles voice
move
horizontally
plane
not
also
ascends
as
in
so
of the
case
the
waves
formed voice:
to
the first
water,
wave,
it is in there
up
of
the
the
when
not
is the the
an
no
obstruction
or
interrupt it,
waves,
does but
break
second
ears
the
following
and
they
all reach
of the lowest
highest
spectators
Hence
without
the
echo.
ancient nature,
architects, following
the
in
rows
the of
the
footsteps of
seats
perfected
from
their
means
ascending
in
theatres
investigations of
of and that the
canonical
cians, musion
mathematicians
to
of the uttered
sweetness
make
every
voice
and
the
to
with
greater
clearness For
of the audience.
just as
musical
instru-
PLAN
SECTION
Plan
and
section
(By
Vitruvius. Theatre to according of the Roman Harvard University Press.) of the courtesy
EXTRACTS The
of the
FROM
has be
our
VITRUVIUS
made
175 than
on
platform
to
deeper
that the
served re-
Greeks, because
while for the
the
all
artists contains
perform
the
stage,
orchestra
seats
places height
of be
not
senators.
more
The
than
of in be
platform
that
to
see
must
five
feet,
may
those the
who
sit in the of
orchestra
actors.
performances
for
The should
sections be
run
(cunei)
spectators
the
theatre
so
divided,
about the
that
angles
of
the the
triangleswhich
circle may between
circumference
of
give
the
the
direction
for far
as
the
up
flightsof
to
steps
sections, as
Above
the
first curved
are
this, the
between
upper
sections
to
midway
(the lower
sections),with
ing alternat-
passage-ways. The
angles
for the
at
the
bottom,
which be
give
seven
the
tions direc-
in number
(C, E, F, G, H,
determine the
I, D)
the of
to
other the
five
scene
angles will
:
arrangement
thus, the
door"
angle (K)
in the
middle
to
ought
have
to
the
"royal
opposite
will
it; the
angles
the
right and
the doors
left
for
(L,M)
guest
designate
and
to
the the
position of
two
chambers;
will
for
outermost
angles
The
are
(A,B)
steps
point
the
passages
in the
wings.
the and
seats
a
the
spectators'places, where
be
not
arranged,
in
should
more
less than
a
foot six
palm
height, nor
than
foot
and
fingers;their
176
THE
OPEN-AIR
be fixed at not
two
THEATRE
depth should
feet, nor
The of of the the
more
than
two
and
half
feet.
to
of of
the
colonnade
be
built
at
the the
top top
will the is
seats, for
should
the
reason
be
level that
with
the
"scaena,"
rise
rows
voice
then
with
of
equal
seats
power
until
roof.
it reaches
If the roof
highest
not
so
and
the
as
high, in proportion
at
the
voice Take
the
point which
of the
one-sixth the
on
diameter
orchestra
seats at
lowest
both
so
steps, and
sides
as
let the
away
be
to
cut
height
of
dimension the
leave
entrances occurs,
(O,P).
fix the will be
point where
the
this
cutting away
Thus their
soffits of
passages.
vaulting
sufficiently high.
The diameter
length
of
of the the
"scaena"
ought
The level
to
be
double of
the the
height
of the
podium,
starting
corona
stage,
is,
of
including the
the the should diameter
cymatium,
Above
one-twelfth the
and the
of
the
orchestra. their
podium,
bases,
same
columns,
have and should
a
including height
the be of
capitals
of
one-quarter
and of
cyma
diameter,
columns
architraves one-fifth
ornaments
of
the
their and
height.
corona,
The
one-
parapet
half the
is
height
of
the
parapet
below.
Let
the
EXTRACTS
FROM this
VITRUVIUS
be one-fourth and the less
77
columns
parapet
in
height
and
columns of these
below,
columns is be
to
architraves
of their
ornaments
height.
let the
If
the
uscaena"
stories,
of the
uppermost
one,
parapet
the
half
at
height
top
columns
one-fourth architraves
high
coronae
than
the
intermediate,
columns
the
of these
one-fifth
of their
height
possible, however,
of
that
in all theatres
all tions condito
sider con-
these
symmetry
but he what the
should the
must extent
answer
purposes,
architect
ought
the be
what
and
nature
extent
to
follow
it may the
principleof
modified of the
to
symmetry,
suit the There
of
site
some
or
size
work.
are, must
a
of be
course,
sake,
made
one
of
:
the
size
in
small
atre thecross-
and
large
such
as
the
steps, curved
aisles, their
stages,
that
not
parapets,
any
the
passages,
stair-ways,
occur
tribunals, and
it necessary with of
or
other
things which
up
make
to
to
give
symmetry
if in the
so
as
interfere work
any
utility. Again,
the material else
course
of
the
as
marble, timber,
will
not
anything
to
provided,
or
it
be
amiss
make
slight reduction
without will be
tion, addi-
provided
but
that
it is done
going
too
far,
the
with
intelligence. This
possible,if
iy8
architect
not
THE
OPEN-AIR
of
THEATRE
is
man
sides, be-
destitute
of cleverness
skill.
The
"scaena"
centre
are
itself
In the of
a
double
At
those
the
royal palace.
of the for
right
doors
guest
chambers.
"
Beyond
that
spaces
provided
call
decoration
places
in
the
Greeks
are
irepLCLKToi,
because
of
places
angular trieach is to
pieces having
be three
machinery
faces.
revolve,
the the
decorated
or
play
changed,
of
when
gods
of
enter
ment accompanimay
sudden
and
claps
a
thunder, these
face
be
volved re-
present
Beyond
afford the
these
entrances
places
to
are
the
the
stage,
from
the
forum,
other
from
are
abroad. three
kinds
There
of
scenes,
one
called
the
satyric.
each
Their in
different
scenes are
and
unlike
other
Tragic
delineated
with
columns,
to
pediments,
comic and
manner scenes
statues, exhibit
and
other
objects suited
kings ;
private dwellings,with
rows
balconies
views
of
representing
of
windows,
after
scenes
the
are
decorated
mountains,
and
other
rustic
objects delineated
in
landscape style.
EXTRACTS
FROM
VITRUVIUS
79
GREEK
THEATRES
In the
theatres
are
of the
not at to
Greeks,
be
these
same
rules of
construction
followed
bottom has line
First, in
has their The and
the
circle
the
where
three of
to
Roman
four
with
angles touching
square
cuts
circumference.
the
whose
a
side
is nearest of the
"scaena,"
off the
to
segment limits
of
circle, determines
by
this
line
the
"proscaenium"
to
(A-B).
ference circumfixes the
Parallel
tangent
a
the
outer
of the
the
centre
segment, the
line
is drawn
which
front
of
*
of the
"scaena"
and
a
(C-D). parallelto
Through
the
orchestra
direction
centres to
of
are
the
'proscaenium"
where left the
off, and
it cuts
at
circumference
of
at
the
right
Then,
is
(E,F)
ends
the
half-circle.
arc
compasses
fixed
the
right, an
at
described
to ;
from left
horizontal side
centre
distance the
the
left
the
of
"proscaenium"
left end,
at
an
(F-G)
arc
again
with from
at
the
is described
to
the horizontal
side of the
distance
the
right
the
right
hand
"proscaenium"
the
(E-H).
As Greeks
a
result have
a
of
this
plan with
three
centres,
a
roomier
orchestra, and
"scaena"
THEATRE EPIDAVRV5
AT
THE
GREEK
TO
THEATRE
VJTRVVIV5
ACCORDING
THE
THEATRE
TO
PORTICO
VITRVVIV5
ACCORDING
Plan
cular cirsmall Theatre The according to Vitruvius. of the Greek actual 'variations ical diagrams represent two from the theoret"Die The is to Josef Durm's reference "from Durm" type. der Griechen" courtesy
Baukunst
(By
of the Harvard
University
Press.)
82
THE
OPEN-AIR which
the the
THEATRE
the
circumsonant,
with
them
are
named termed
again
and The
resonant, consonant,
are
which which
those
are
they places
up
call
in
which
strikes
the
first sound
that
is carried
high,
against solid
as
above,
the
back, checks
it sinks
bottom
succeeding
The
sound.
are
those then
in
which
into
the the
are
voice
dle, midnot
spreads
is forced
where
dissolves; the
away
case-endings
in sounds those
heard,
and
it dies The
there
are
of indistinct
it
comes
meaning.
into
contact
resonant
some
with
an
solid and
substance
recoils,
tions terminaare
thus
producing
of
cases
echo,
making
The from
ears
sound it is and
double.
those
as
in which
up,
supported
reaches the
below,
increases
it goes distinct
in words
which
has
are
and
clear
in tone. in the
Hence,
selection
if there of the
been the be
careful effect of
attention
the voice
to
site,
perfectly suited
The
theatre.
drawings of
each other
the this
are
plans
may
distinguished
theatres signed de-
from
by
difference,that
meant to
squares
be
used from
by Greeks, equilateral
theatres
are
designed
EXTRACTS
FROM
VITRUVIUS
83
triangles.
Whoever be
able
is
to
willing
construct
to
follow
these
correct
rections di-
will theatres.
perfectly
THE
END
INDEX
Acoustics,
148,
125
171,
179
Booth, Bothin,
George Henry
G., E.,
38 99 53
Acting, Adams,
Maude,
22,
Roman 37
34
Bourges
Bradfield
Amphitheatre,
Greek
^Eschylus,
Amman,
Theatre,
46,
theatre
28
at,
25
141
Amphitheatres, Anglin,
Anoka Arena
Brookside
Theatre,
Mawr
101,
141,
148
Margaret, Open-air
Goldoni,
Roman
34,
115,
43
126
Bryn
147
Open-air
Theatre,
Theatre,
43
Burrowes,
theatre
Marcus Memorial
R.,
39
Aspendus,
24,
Athens
"
at,
Butterick 146
Theatre,
151
See
Dionysus,
Theatre
of
Autun,
Religious
theatre
at,
52
Castelnuovo
Garden
Nature
Theatre,
theatre
96
Cauterets, Baker,
Bakersfield
at,
George
Pierce,
Greek
79
69
Theatre,
39,
Chicago
"
Garfield
145
Park
tre, Thea-
149,
153
42,
Balbus,
Bankside
Bar
Theatre
of,
25 83
Coburn
Players,
of the
76,
128 of
Theatre,
Nature
College
78
City
48
New
Harbor
Theatre,
47
York
Stadium, Drama,
Roland
Barker,
Granville,
"
Community
Greek
8, R.,
105
116,
129
Berkeley
Theatre
See
Hearst
Conklin,
Construction,
135,
29
169
Bernhardt,
B6ziers
Boboli 96 Bohemian Arena
Sarah,
29,
35 47
Coquelin,
Cornish
Cost of
Theatre,
"rounds,"
56
Gardens
Amphitheatre,
open-air
Gordon,
Greek
252
46
theatres,
165
Craig,
Grove
Theatre,
163
5,
71,
Cranbrook
Theatre,
38,
119,
142,
160,
145, 185
186
Dell
INDEX
Theatre,
75 55
Hagedorn,
Harvard
Hermann, Stadium,
48
76,
80
DeVega,
Dickinson,
Lope,
Thomas
-H., 80,
of,
13
123
Harz 147
Mountain
Theatre,
65,
Festivals Theatre
Hearst
Greek
Theatre,
31,
41,
Wilhelm, systems,
8
Drainage
Duse,
Theatre,
Eleanora,
Sidney Henry
Sam,
39
Coe,
39 93
Ekklesiasterion Elizabethan
at
Priene,
57
27
Hubbard, Hume,
Vincent,
theatre, 4,
Greek
Epidaurus
Eretria
Theatre,
21
20 Italian Italian
Greek
22
Theatre,
"arenas,"
villa
49 154
Euripides,
theatres, 4, 89,
Experimental
theatre,
Japanese
Forest
42 Park
No-theatres,
63
Theatre,
St.
Louis,
Forest Fountain
97
Theatre,
Theatre
Carmel,
at
73, 119
Kaufmann,
Kirksville
Oskar,
66
Open-air
Woods
Theatre,
78
Klampenborg
Klopstock,
Koch,
119 65
Theatre,
Terrace
theatre
Theatre,
103
Frederick
plays,
H.,
83
Laughton,
Park
Marie
Ware,
101
75
Theatre,
73
42,
145
Leonard,
Martia, 125,
162
Porter, 65, 97
Kenneth Mrs.
Lighting,
Littmann,
Max, Rudolf,
66 67
Sawyer,
42
Lorenz,
Los 153
Charles
Judson,
Angeles
Greek
Theatre,
43,
Graham,
107
Mrs.
William
Miller,
MacDowell
Pageant,
7, 79
129 77 80
Greek
Greek Greek
drama,
theatre,
Mackaye,
Macomb
Theatre,
Madison
open-air theatre,
121
Greet,
Maeterlinck,
INDEX
Mannheim
187
Peterborough
Players' Planning
"
treillage-work
98, 142,
154
tre, thea-
See
Outdoor
Theatre
Marcellus,
Mediaeval
51
Theatre
of, 24,
25
open-air
theatres,
75
135
religious theatre,
11,
Platt, Livingston,
Point
Loma
Greek
Theatre,
36,
Megalopolis
Meriden 119
Greek
Theatre,
theatre, 5,
21
139, 152
Pomona Greek Roman
nature
76,
Theatre,
theatre
41
Pompeii, Plays, 3,
Frederic,
Garden
52 28
at, 32
25 69
Miracle
Pompey's
Potsdam
Theatre,
Nature Theatre
Rome, Theatre,
theatres
at,
Priene, Priene,
at, 20 at, 27
Ekklesiasterion
Tamalpais
Theatre,
51
83
Mystery
Plays, 3,
Ragdale
163
Ring,
100,
142,
148,
Nature
167
theatres,
11,
64,
157,
Real,
Antony,
28 115
Reinhardt,
Max,
Normal
Open-air Theatre,
Passion
77
3, 51
theatre
at,
Ober-Ammergau
59
tre, Thea-
97
Ripert, Felix,
26 Roman 147 Roman 109
Odeons,
Olmsted
drama,
Brothers, drama,
Roman
151 Greek
Open-air Orange,
24, 28,
7, 80,
theatre
Rosemary
5, Rosse,
at,
Oropus,
Outdoor
theatre
at, 20
St.
Louis" 42
Forest
Park
tre, Thea-
Players'
74
Theatre,
terborough, Pe-
St.
Louis
Pageant
122
Theatre,
82"
54
Seating
Selzach
capacities, 17,
Passion
25 62
116
Play,
theatres,
41,
79,
117,
Shakespeare,
Shaw,
Howard,
Panathenaic
Stadion,
Odeon
28
Pausilypon,
Joseph
Lindon,
115
42
Peterborough
5,
79
Pageant
i88
INDEX
Stage
Stevens,
Swan
buildings,
Thomas
17, Wood,
58
150
Villa
Marlia
Garden
Theatre,
42,
82
93,
Villa
155,
of
156
Theatre,
Hadrian,
Garden
89
Villa
Sergardi
156
Theatre,
Tacoma
Stadion,
Greek
48
93,
theatre
Tarrytown,
107
at,
Villa
Serraglio
95,
156
Garden
tre, Thea-
Theatre
of
Hercules,
at
Isola
Vitruvius,
19,
24,
149,
169
Bella,
Tiefurt
96
Water
Theatre,
36, theatres,
37
85
Wachler,
Ernst,
Park
65
Katherine,
Warsaw
Theatre,
85
104
98,
154 Water
theatres,
Inigo,
99
Wellesley
85
College
"Tree
Day,"
Valenciennes Vassar
Passion
Play,
Nature tre, Thea-
54
Westerwyck, College
75,
Villa Collodi
155 160 theatre
Treillage-work
at, Edith,
99
Wharton,
Garden
91
Theatre,
92,
Villa
Gori
156
Garden
Theatre,
91,
Yale
Bowl,
W.
48
155,
Yeats,
B.,
74