Word: proscenium
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...stage should be adaptable enough to accomodate a classical or modern play, and to present it in a manner consistent with the style in which it is written. This means a platform or "open" stage will be required as well as a proscenium stage, and that the proscenium opening should be flexible. The two units should be capable of use together or separately. Part, if not all, of the platform, should be hydraulically controlled so that several levels may be provided...
...well known, the open stage had to be diametrically opposed to a proscenium arrangement. The open stage presupposes seating on three sides, (sketch No. 1) while the proscenium is a picture frame arrangement, with the audience seated as though watching a movie (sketch...
...consulted several well known stage designers and critics in New York. One, after listening to the proposal, said that architects in Europe and America have tried unsuccessfully to solve this problem for many years. He advised us to abandon the open stage and make a good design for proscenium productions. This advice made the challenge even greater...
...design process, many possibilities were tried and abandoned. Eventually, a seemingly simple idea evolved: the room would be a simple rectangle, half of the seats set in stadium fashion, the other half on elevators capable of being shifted from proscenium style into a second position, making space for the open platform stage (sketch No. 4). Shortly after this breakthrough, Bob Chapman introduced M. Michel St. Denis, noted French producer and theater expert whom the University had asked to advise on the design concept. We spent many profitable hours exchanging theories and ideas. St. Denis was sympathetic with our views...
...versatile complex of latticed background panels, designed by Rouben Ter-Arutanian in 1956 and used for the dozen productions since, are gone this summer. Instead, Ter-Arutunian has encased the whole proscenium and stage within a surface of giant potato chips. This adequately serves the exotic Mediterranean Bermuda that Shakespeare specified for The Tempest; but it proves less fitting for Tweifth Night. Director Jack London, who has previously shown a penchant for gimmicking up his productions, has really gone 'round the bend this time, and must shoulder almost all the blame. I bet Shakespeare wishes he'd never added...