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Serlio’s three basic sets. Left to right: Tragedy, comedy and satyr. His theories on stage design were influential.
In 1487 Ercole provided a ‘paradise The directions ‘Upstage’ and pulled away to reveal a new pair.
with stars’ for Plautus’ Amphitruo. ‘Downstage’ come from this. When the Sabbatini and others refined this
Leonardo’s Il Paradiso of 1489 has Australian Ballet toured Russia some practice by using curved and slanted
been mentioned. Then in 1491, Ercole years ago the dancers had to adjust to sky-painted canvas two metres wide to
revived Mechaechmi indoors and the challenge of raked stages in many form a series of arches above the stage.
engaged Nicollo del Cogo to paint ‘a venues. The Renaissance designer revelled
prospect of four castles.’ The inability Serlio’s book included instructions in creating illusion. He aimed to rival
of Renaissance architects to truly on illusions like thunder and lightning the beauty and reality that audiences
recreate classical theatre design is and how to move human figures, saw in the works of Michelangelo and
understandable. They had little animals and planets using invisible Leonardo, and perspective was his tool
evidence upon which to base them. De wires. To achieve reflected coloured to do it. The mechanics of illusion was
Architectura by Vitruvius served as light the book suggested placing a bottle not to be a mystery, but something to
some inspiration, but provided little of red wine in front of a burning torch. be conveyed to the audience with pride.
useful information with respect to Some Italian designers preferred the Scene changes in full view of the
theatre design. On the other hand, his use of flat wings and backings in the audience were part of the
account of the use of the periaktoi (a form of screens. From 1500 to 1650, entertainment. People enjoyed watching
form of scene hoist - see CR50 p.29) large prisms were sometimes used one scene seemingly dissolve into
and his descriptions of classical settings instead of backdrops. In 1583, the another. This tradition continues in
did encourage scene painters of architect da Vignola drew stage plans for pantomimes.
extraordinary talent. Some of the great such a theatre with a periaktoi on each Since mystery was not the intent, it
Italian artists - Mantegna, Brunelleschi, side of the stage to change the scenery. might appear contradictory that curtains
Ghirlandajo, Andrea del Sarto and even covered the stage of the Renaissance
Raphael, Michelangelo and Leonardo Stage Effects theatre. A curtain bestowed the
In 1638 Sabbatini wrote a book on
participated. formality of opening and closing a
scenic perspective and effects such as
In 1545 Sebastiano Serlio published performance and some mystery was
descending clouds and rolling waves.
the first drawings of what he believed seen as helpful. By not revealing the
His advice for quick scene changes:
to be three types of classical scenery. opening setting, a curtain created
groups of three or four angular wings,
The tragic set showed lofty palaces, the anticipation and ultimately, surprise. As
often representing houses or walls,
comedy set depicted city houses and for for allowing the audience to watch
positioned on either side of the stage.
the satyr play (a rustic farce) it was a scene changes, English theatre banished
The innermost wing of a particular
landscape of trees, hills and cottages. this custom in the 19th century. Now it
group could be moved back to change
Serlio’s designs influenced Moliere in is almost commonplace again, and for
the setting and the sense of perspective.
Paris, English theatre and the Spanish exactly the same reasons as
Court theatre. The traditional periaktoi became Renaissance audiences liked it: marvel
awkward as a scene-changing device
The scenery material was typically at the skill involved.
when raked stages became popular.
laths covered with linen. The wings
Instead, flat wings came into use from The artificial spectacle
were cut and painted in false
about 1600 and remained popular well Elaborate scenery and effects on the
perspective, so that all horizontal lines
into the 19th century. Flat wings were Renaissance stage were more likely to
slanted backward and downward to the
set in grooves, typically top and accompany spectacles than plays. These
scene painted on the backing. To make
bottom, to assist movement. When the might have taken the form of pageantry,
the false perspective as complete as
downstage wings were withdrawn, the song, dance, pantomime or recitation.
possible, Serlio gave his stage a rake -
corresponding backdrop was raised or Even when a Latin play was performed,
flat for a metre or two nearest the
lowered into the basement. If the it would often be interrupted by a
chairs then rising steadily toward the
backdrop was immense, it could be spectacle, known as intermezzi or
back. Slanted stage floors remained
split in the middle and the two halves intermedii.
popular until Victorian times.
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