THEA 103 1st Edition Lecture 5Outline of Last Lecture I. Ancient Greek TheatreII. Ancient Roman TheatreOutline of Current Lecture I. Medieval TheatreII. Renaissance TheatreCurrent LectureI. Medieval Theatrea. Early medieval period-individual or small bands of outcast performers, storytellers, tumblers, etc. b. By 10th century-rise of liturgical drama-clergymen dramatize bible stories and convey church doctrine. World WAS the church.i. Areas in the church were used to represent symbolic locations and small scenic structures called Mansions were also built to symbolize places in the drama. By the 14th century, the dramas moved out of the church and were presented during religious festivals. ii. As they moved outdoors (because they were running out of room), dialogue replaced chanting, the vernacular languages replaced Latin, and non-clergy performed. iii. Temporary stages were setup both as fixed platform stages and as pageant wagons, which traveled through the streets of the town to perform a play or part of a cycle. iv. Platform stages were set up in the town square and consisted of several mansions and a plateaor common playing area.c. Existing technologies used in warfare and building were used for flying scenery and performers. Pyrotechnics and lighting effects using candles and reflectors were used, as were trap doors and winch-operated moving scenery (Hell Mouth). Stage machinery wastermed secrets and often required large crews to operate. II. Renaissance Theatrea. Late medieval period-elaborate court entertainments become popular Renaissanceb. 1450-Printing press 1453-Fall of Constantinople These notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.i. With the fall of Constantinople, classical scholars fled to Italy, sparking interest inGreek and Roman culture. ii. Printing disseminated the knowledge as classical texts were reprinted. c. Artists adopted mathematical methods and developed forced perspective painting. d. 1517-Protestant Reformation 1534-Church of England Theatre had become more secularin the late medieval period, and with religious conflicts following the Reformation, was alternately banned in some countries and strictly regulated in others.e. 1585-Teatro Olympicof. 1590-Teatro All’anticag. 1618-Teatro Farnesei. One of the first permanent renaissance theatres, designed to fit inside an existing structure, the TeatroOlympico is clearly modeled on Roman stages.ii. three doorways in the scenae frons became open arches which were backed with forced perspective scenery. iii. The floor behind the arches is raked. iv. By the time the TeatroAll’antica and Teartro Farnese are built, the three arches had developed into a single proscenium and the auditorium had taken on a distinctive horseshoe shape. v. The orchestra was multiuse as well as for spectators. vi. Per Vitruvius, designers used three stock perspective sets, Tragic, Comic, and Satyrical.h. Early attempts to change settings were awkward until perspective painting developed towhere the wings could be parallel to the proscenium line rather than slanted away.i. The painted scenery could then be slid along wooden tracks on the raked stage floor. Backdrops were two-part shutters that split in the middle and slid offstage.Periaktoi were also used and all scenic shifting involved winch-driven ropes. i. 1599-Globe TheatreEnglish theatre continued medieval traditions through the Elizabethan era. i. The Globe and similar outdoor, or public theatres, were either derived from travelling shows in the couryards of inns or from the bearbaiting and bullbaiting arenas with an originally temporary stage at one end. j. The Blackfirars Playhousei. indoor or private theatre similar in layout to the public theatres except for seating in the pit area. ii. Seating onstage became a convention in Renaissance theatres. k. Elizabethan stages i. relied on props, furniture, and stock mansions to establish locale. ii. The stages had a lower central curtained archway called the inner below, which may or may no have been used for action. iii. A second level balcony called the inner above was used. iv. Italian scenic practices were imported into England for the court masques, whichwere private court entertainments involving plays, dance, and music. l. All theatrical performances were banned In England from 1642 to 1660. m. In Italian stages by the mid-17th Century, the chariot and pole systemi. used to move the wings on and offstage, where the wing was attached to a pole that ran through a slot in the stage floor to the basement. ii. The pole was attached to a wagon at the basement level which was operated by ropes. iii. Pairs of chariots and poles moved simultaneously. n. Cloud machines used winches to fly actors or groups of actors. The rigging was hidden bycloud cutouts and borders painted to look like clouds.o. 1637-Teatro de San Cassiano, Venice- first opera house built. p. The 18th Century saw refinement in scenic design and painting and introduction of multipoint perspective. i. The Italian scenic system was improved on by the French, who introduced a deeper basement that could accommodate scenery rising from below. ii. The Germans further improved by raising the stage house and improving flying, including the use of counterweights. Germans would dominate stage technologyinto the 20th