新西兰东部理工学院论文代写:剧院结构

新西兰东部理工学院论文代写:剧院结构

对第十八世纪早期的阶段结构的一个典型的例子是Andrea Pozzo。这些形式的戏剧实际上代表一个剧场。这里有一个半圆形的座位。然而,这种住处不像礼堂里的罗马式座位安排。罗马时尚有更多的曲率安排与倾斜的座位。然而,这里的画廊是分开的,只是在舞台前。这描绘了舞台为焦点(第八章)。

在第十八世纪的剧院结构承诺精心设置的艺术家。一方面,工匠们致力于发展舞台空间、舞台空间的特征和氛围,另一方面,人们致力于舞台空间的机械。在另一个完全不同的结尾,人们把注意力集中在观众的便利上。大多数这些剧院来精心的座位安排和艺术家如何才能使前台显示弓为人们更好的。有,但是,在这些结构中的几个权衡。例如,一个艺术家可能会设计一个剧院的比例,可以带出舞台剧在非常奢侈的比例。然而,在这样做的时候,他们将不得不权衡的座位上,可以设置在剧院或方式的座位安排可以看台口的数量。卵形的礼堂在当时很普遍,而且是马蹄式礼堂。这些形式的画廊是Patte和变型设计中使用的d’imolo剧院的时间。一个直边的形状是由一些与平行的画廊和墙壁。这些形式的直形画廊方便两个目的。他们帮助艺术家们在画廊周围工作的方式更加逼真,其次是那些对画廊感兴趣的人可以在他们周围走动。在以后的岁月里,Giuseppe Bibiena的舞台风格,介绍了平台的伊丽莎白形式。这些更让人想起英国剧场。建筑风格,艺术和建筑创造的空间突出了英语风格比意大利和法国。

新西兰东部理工学院论文代写:剧院结构

A typical example of the stage architecture of the early eighteenth century is Andrea Pozzo. These forms of theatre actually represent more of a playhouse. Here there were seating accommodations in the form of a semi circle. However, this accommodation was not like the Roman seating arrangement in an auditorium. The Roman fashion had a much more curvature arrangement with the seats in sloping style. Here, however, galleries were divided and were just before the stage front. This depicted the stage as the focal point (Chapter VIII).

The theatre structure in the eighteenth century promised elaborate settings for its artists. At one end, artisans were working on developing the stage space, the characteristics and atmosphere of the stage space and at another, people were devoted to the machinery that can be used in the stage space. On another completely different end, people were focused on the conveniences of the audience. Most of these theatres came with elaborate seating arrangement and artists were working on how they could make the display of the proscenium arch better for the people. There were, however, several tradeoffs in these constructions. For instance, one artist would probably design a theatre proportion that could bring out the stage play in a very extravagant proportion. However, in doing so they would have had to trade-off on the number of seats that can be set in the theatre or the way the seating arrangements might look at the proscenium. Ovoid auditoriums were common at this time, and also were horseshoe style auditoriums. These forms of galleries were the design of the Patte and variants were used in the time of the Teatro d’Imolo. A straight sided shape was used by some with galleries that were parallel to one another and the walls. These forms of straight shaped galleries were convenient for two purposes. They helped the play to be more realistic in the ways that the artists would work around the galleries, and secondly the people who were interested in looking at the galleries could walk around them. In later years, the theatrical style of Giuseppe Bibiena introduced a Elizabethan form of platform. These were more reminiscent of the playhouses of England. The style of construction, the art and architecture used to create the spaces highlighted the English style more than the Italian and the French.