Filosofia e psicologia

Teatro. Vol.II PDF

Vicenza, northern Italy, constructed in 1580-1585. The theatre was the final design by the Italian Renaissance architect Andrea Palladio and was not completed until after his death. The Teatro Olimpico is, along with the Teatro. Vol.II PDF all’antica in Sabbioneta and the Teatro Farnese in Parma, one of only three Renaissance theatres remaining in existence. Both these theatres were based, in large measure, on the Teatro Olimpico.

Författare: Eduardo De Filippo.

Il Meridiano raccoglie testi che vanno dalla fine della Seconda guerra mondiale alla metà degli anni Cinquanta, tra i quali Napoli milionaria (che nel 1945 segnò la rinascita di Napoli e del suo teatro) e Filumena Marturano (1946).

It is still used several times a year. Since 1994, the Teatro Olimpico, together with other Palladian buildings in and around Vicenza, has been part of the UNESCO World Heritage Site City of Vicenza and the Palladian Villas of the Veneto. Detail of the wood-and-plaster stage scenery designed by Vincenzo Scamozzi, as viewed through the porta reggia of the scaenae frons. The entrance to the Teatro Olimpico courtyard from Piazza Matteotti. The medieval wall predates the theatre, but the rusticated entrance arch was designed by Scamozzi, and clearly mimics the style and size of the porta reggia inside the theatre. These oil lamps, designed by Scamozzi, were used to create interior lighting for the “houses” along the imaginary streets, for the very first production.

The Teatro Olimpico is the last work by Palladio, and ranks amongst his highest masterworks. The Vicentine architect had returned to his native city in 1579, bringing with him a lifetime of detailed study into all aspects of Roman architecture, and a more detailed understanding of the architecture of classical theatre than any other living person. The most notable of these had been erected some seventeen years previously in the great hall of the Basilica Palladiana. In 1579 the Academy obtained the rights to build a permanent theatre in an old fortress, the Castello del Territorio, which had been turned into a prison and powder magazine before falling into disuse. Palladio was asked to produce a design, and despite the awkward shape of the old fortress, he decided to use the space to recreate an academic reconstruction of the Roman theatres that he had so closely studied.

This section does not cite any sources. Palladio died in August 1580, only six months after construction had started on the theatre. Despite this setback, construction continued, with Palladio’s sketches and drawings serving as a guide, and Palladio’s son, Silla, taking charge of the project. Soon, the other prominent Vicentine architect, Vincenzo Scamozzi, was called upon to complete the project.

Scamozzi had already stepped in to complete Palladio’s other great unfinished project, the villa just east of Vicenza that is today known as La Rotonda. It is a mark of Scamozzi’s genius that both these projects are today regarded as being among Palladio’s most successfully executed works. Scamozzi’s contributions include the Odèo and Antiodèo rooms, as well as the entrance archway which leads from the street, through an old medieval wall into the courtyard of the old fortress. In order to make the archway fit with its surroundings, and to prepare visitors to the theatre for the transformation from medieval to classical surroundings, Scamozzi built the archway to be the same size and shape as the porta reggia or triumphal arch at the center of the scaenae frons or rear wall of the stage. However, Scamozzi’s most famous and most original contribution to the theatre was his elaborate stage set, with its remarkable trompe l’œil street views. He not only designed the sets, but also put considerable effort into designing the lighting that permitted the make-believe houses of the stage scenery to be lit from within, completing the illusion that these were real streets. Aside from a single sketch of the scaenae frons, Palladio left no plans as to what kind of scenery should be used onstage.

His illustration of an idealized Roman scaenae frons for Barbaro’s edition of Vitruvius had shown perspective street views similar to those which would later be built in the Teatro Olimpico. The simplest explanation for the absence of any street scenes in this drawing is that the Academy had not yet obtained the land on which the scenery would later be built. This land was acquired in 1582, after Scamozzi had taken charge of the project. But it is also appropriate to regard Scamozzi as the technical genius behind their remarkably successful execution. Scamozzi’s stage set was the first practical introduction of perspective views into Renaissance theatre.

The scenery consists of seven hallways decorated to create the illusion of looking down the streets of a city from classical antiquity. Ancient Thebes, was to be the setting for the first play staged in the theatre. The theatre was inaugurated on March 3, 1585, with a production of Sophocles’ Oedipus Rex. However, the theatre was virtually abandoned after only a few productions. The Teatro Olimpico is still used for plays and musical performances, but audience sizes are limited to 400, for conservation reasons. Performances take place in two theatre seasons—classical plays in the autumn and the festival Il Suono dell’Olimpico in the spring.