The Role of Performance Space on the Stage

A theater in architecture is the building and the room where they represent theatrical performances and a lot of stage equipment is required to present a successful stage performance in a theater.

While not always a building for dramatic theater is required as it happens in the case of open-air theater. For these functions, it is to organize the venues and audience as well as to provide facilities for technical stage equipment, performers and audience. There are many theatrical spaces which are mentioned below.

The place of representation is called stage or performance space. The stage is placed in front of the spectators at a high level. It is the traditional arrangement of most of the western theater halls, inherited from the eighteenth century. It consists of the stage itself, bounded to viewers by a frame called proscenium arch or front of the stage and it closes with the curtain, traditionally the main curtain made of a heavy and shiny fabric like velvet. Ahead of the curtain, the stage has an outpost called proscenium. The theater can have a gap between the proscenium and the first row of spectators, in which the orchestra is placed. On both sides of the Italian stage, the scene is prolonged by spaces called shoulder which are hidden from the view of spectators. The actors are around the stage where the stage designer has prepared the elements of decoration used in the theatrical performance.

The stage itself is the floor of the stage area, an area of high altitude which houses the rods, metallic profiles that support lighting elements and decoration that can go up and down, and engines that trigger. The rods in turn hang from the comb, a metal grill that closes above the stage area. The scenic box can be up to almost 40 meters high. Under the stage, there is at least one space, called pit, where the elements of decoration are kept that are to be taken to the stage through a trap door scuttles. Under the stage of the great modern theaters, there may be several floors for various technical services.

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Throughout the twentieth century, the renewal of stagecraft has led to a rethinking of the stage to adapt to new interpretive techniques and to bring actors and audience facilitating interaction. The provisions allow the multiple viewing angles of the stage performance, condition and limit it in the absence of stage area where the stage machinery is kept hidden.

Stage in the Middle Age

Among the variations of the stages which influenced the stagecraft, it can be cited that circular decoration of the famous wagon-scenes of the Middle Ages, on which were presented to viewers the most colorful places of various episodes of the mysteries or scenic plays of the time. That particular finding is precursor of the modern revolving stages. Another feature of the same period was the simultaneous stage, where the sites of action of the show succeeded; that stage had its echo in contemporary theater, as seen in the decoration of several simultaneous rooms, or in the juxtaposed cars that pass through the mouth of the stage changing places in the eyes of the spectators.

Throughout the history of stage, there could be studied cases like these, which considered from the aesthetic point of view and would lead to very curious deductions. One of the best innovations achieved in modern stages of the last 30 years is the great suggestions achieved with synthetic plastic elements and simple backgrounds of curtains or black or neutral colors. Well, if we rummage in the past, its origin is found in primitive representations, particularly in England, where a simple poster indicated the place or voice which awakened the imagination of the audience explaining the virtues of a set that did not exist.

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This is the evidence that there have been problems in similar ways at all times, and coincident of practical concepts. Pure stage as a contribution personality of the set designer to achieve an organic whole in the show and a suitable atmosphere to work of painter is an achievement of the modern age.

Stage in the Modern Age

The rebirth gives us for the first time a stage in the Olympic Vicenza in 1585 by architect Andrea Palladio, a wooden stage, grand synthesis of architectural aesthetics of the stage of the time, and that was that the decor was according to the art of linear perspective. The optical illusion of the extension of the street was complete. It was gradually becoming fixed decoration, and the stage had a majestic and brilliant period both in Italy and in France. The opera participated in the development, because it was a genre that demanded great presentation and economic support. But for these new conquests, the charged importance was necessary for the architect, who was in turn builder and painter, and gave way to the set designers i.e. specialized in the art of creating stage climates.

With the focus on aspects from different angles born a new type of stage designer. The stage lighting also helped in the conquests of the stage and the footlights were an innovation of the seventeenth century. It was in this admirable seventeenth century when the stage decor itself was born, which then put the artist his originality and contribution of his personality.