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References [1] Braun K., Przestrzeń teatralna , PWN, Warszawa 1982. [2] Carlson M., Places of Performance. The Semiotics of Theatre Architecture , Cornell University Press, Ithaca/London 1993. [3] Gadanho P., Architecture as performance , Dédalo #02, Porto, (access: 25.02.2019). [4] Hannah D., Event-Space. Theatre Architecture and the Historical Avant-Garde , Routledge, London 2018. [5] Kozień-Woźniak M., Teatry interferencji: współczesna architektura teatralna a

3 Theater Architecture 3.1 Ottoboni’s Theater and Filippo Juvarra Michetti’s entry into the palace rolls anticipated that of the famous Filippo Juvarra who first appears in the cardinal’s court in July of 1709 as one of Ottoboni’s ministers without a monthly stipend.110 According to his biographers, Juvarra was introduced to Ottoboni by his countryman and fellow professional in the cardinal’s court, Francesco Pellegrini. The following month, Juvarra was grouped among the Cappellani or chaplains of the court� in October an allowance of five scudi is recorded

Vitruvius and the Re-Invention of Classical Theatre Architecture Daniel Millette The reconstruction of past monuments for very present benefits is not a new activity; this has been an ongoing occurrence for millennia. The present-day acceleration of commemoration through monument reconstruction, however, seems unprecedented. For the past decade, for example, the rush to rebuild classical remains in and around the Mediterranean basin remains unmatched. Entire sites are planned for reconstruction, with one particular monument type standing out within the classical

Ocular Anatomy, Chiasm, and Theatre Architecture as a Material Pheno- menology in Early Modern Europe Pannill Camp Husserlian phenomenology , long a critical apparatus employed by theatre and performance scholars, is already infiltrated by a theatrical mode of thought that is more or less explicit in much of Husserl ’s philosophy. It has chimeri- cally incorporated the architecture of the theatre in the mode of the Western, frontally oriented, proscenium stage. Supporting such a claim requires a care- ful calibration of the terms of ‘phenomenology’ and of

The Evolution of Theatre Architecture Outside Athens in the Fourth Century 107 The Evolution of Theatre Architecture Outside Athens in the Fourth Century* Jean-Charles Moretti The Greeks were late to add theatres to the corpus of stone constructions they built to serve their cult practices. Theatres joined the repertoire long after temples, altars and hes- tiatoria, all of which are known from the Archaic period and reveal a great diversity of shape and ornament. The choice had nothing to do with technical know-how but illus- trates a habit well-attested from the


The 16th century brought changes in the European theatre. The Teatro Olimpico which was erected in Vicenza continued in the formation of the seventeenth-century theatre built in Parma. It initiated the Italian Baroque Theatre, adopted throughout Europe and later throughout the world. The All’Antica arrangement of stage-auditorium that preceded Teatro Farnese was developed in Sabbioneta, and it was the first attempt to create a theatre of the viewer and the actor. A Baroque theatre hall in Mantua, with its functional capabilities, was ahead of its time.

The artists of the Great Theatre Reform were looking for a space that would allow the viewer and the actor to be treated as the subject of performance. The beginning of this approach to theatre was demonstrated by Richard Wagner. Theatre became a place that saw a synthesis of all arts, and Peter Brook most clearly showed it in his performances, notably Mahabharata.

Cardinal Pietro Ottoboni at the Cancelleria
William Forsythes choreographische Arbeiten in ihren architektonischen Konstellationen
Series: TanzScripte, 28