ERATO Proceedings Istanbul 2006.pdf - Odeon

More documents

Recommendations

Info

1,6 s with audience. However, in the case of Aosta the ceiling height is 21 m, which is defined by the walls that are still standing, and this leads to a considerably longer reverberation time of around 3,5 s with audience. While the shorter value in Aphrodisias is similar to the reverberation time in a modern concert hall, the longer value in Aosta is more similar to that of a modern church. 10 Clarity, C80 (dB) Strength, G (dB) 5 0 -5 -10 Jerash Aspendos Syracusa Aosta Aphrodisias Figure 7. Comparison of the Clarity and the Strength in the reconstructed theatres and odea with a full audience. Average values at mid frequencies for all source-receiver positions. The acoustics of the reconstructed open-air theatres can be characterised by a very high clarity and a rather low strength of sound, see Fig. 7. The sound strength decreases with distance, and more so if there is no colonnade. The acoustics of the reconstructed odea are quite different with a rather low clarity and a high strength of sound. The sound strength does not decrease much with distance. 7 CONCLUSION The results of the acoustic simulations in the reconstructed theatres and odea confirm the assumption, that they were dedicated for different purposes. The theatres with very high clarity of sound were excellent for plays (speech), whereas the odea with a higher sound strength and more reverberant sound were excellent for song and music from weaker instruments like the lyre or chitare. 8 ACKNOWLEDGEMENT The ERATO project (Contract Number ICA3-CT-2002-10031), is financed by the European Commission under the Fifth Framework INCO – MED Program. References [1] ISO 3382 – “Acoustics – measurement of the reverberation time of rooms with reference to other acoustical parameters” 10
VITRUVIUS AND ANCIENT THEATRES: ANALYTICAL STUDY Naif Haddad Dept. of Conservation Science, Queen Rania’s Inst. of Tourism and Heritage, the Hashemite University, Zarqa, Jordan, naifh@hu.edu.jo The Roman Architect Vitruvius, who lived in the first century B.C, discussed in his Fifth Book on Architecture, De Architectura, which appeared between 27 and 23 B.C. the construction and proportions of the Greek and Roman theatres. Vitruvius explains how to lay out a theater of Greek and the Roman type. He mentioned that two factors were taken into consideration while choosing the site of the theatre, the Healthy place and good Orientation for the theatre. Vitruvius was the chief authority studied by architects. His books had a huge influence on the West since classical Renaissance and in the main points his precepts were accepted as final. In some cases a failure to understand his meaning led to curious results; it is perhaps a mistake to expect to find the perfect Vitruvian Theater. Vitruvius himself fully expected departures from the norm and he speed this out clearly and to what extent it may be modified to suit the nature of the site or the size of the work. This paper will discuss and evaluate in general, the Hellenistic and Roman theatre design, their acoustic qualities and orientation by testing and evaluation of Vitruvius main issues in ancient theatre. 1 INTRODUCTION to the ANCIENT THEATRE It is important to distinguish between an open air theatre and amphitheatre. The open air theatre is more or less semi circular, has an elevated proscenium, and was used both by the Greeks and the Romans, mainly for theatre plays (Fig. 1.1). The amphitheatre are circular or elliptical (amphi-means in both sides in order to see from all directions) and has an arena in the centre; it was not used by the Greeks, but is a Roman invention used for gladiator fights and wild animals (Q90*-21”). The Greek, Hellenistic, and Roman open air theatre, in general, was composed of three elements [1]: 1 2 3 Figure 1.1. Greek open air Greek theatre 2. Roman Odeon (roofed theatre) 3. Roman amphitheatre (1) The area for the audience was the "theatron" cavea which means "seeing place"; (2) In front of it and partially surrounded by it lay the orchestra [2]. (3) The "skene", as theatre building, formed the background for the orchestra. The skene, a tent or small wooden hut was probably added in the middle of the fifth century. The skene, the source of our word scene, was the palace (or scene house, stage) at the rear of the acting space [3]. The cavea or auditorium containing the tiers of seats for the audience was designed with great skill to ensure its adaptation to the landscape, superb acoustics and the easy movement of the spectators. As the seating area of a theatre became enlarged, it became necessary to build supporting walls for the theatron called analemmata. There is a third kind of theatre, the Odeon or roofed theatre, which occurred already in the Greek period and became widespread in the Roman period; it is actually a concert hall for singing and music performance, but also used for major meetings (Fig.1.3) It is very typical that the Odeon is built in short distance from the larger open air theatre. Theater, Odeon served as a cultural centre 11
Page 1: RTD project in the EC 5th Framework
Page 7 and 8: THE ERATO PROJECT AND ITS CONTRIBUT
Page 9 and 10: 3 ROOM ACOUSTICAL PARAMETERS The fo
Page 11 and 12: 4.2 Reverberation Time T 30 vs. Fre
Page 13 and 14: 5.1 Aosta & Aphrodisias Odeon The A
Page 15: 5.3 Strength G vs. Distance 16,00 1
Page 19 and 20: a line is drawn to touch the outsid
Page 21 and 22: Actually the colonnade (portico) im
Page 23 and 24: VIRTUAL REALITY AND ARCHITECTURAL C
Page 25 and 26: As a result, maybe the most critica
Page 27 and 28: The absorption and scattering prope
Page 29 and 30: Figure 3. Sound sources and receive
Page 31 and 32: In Figure 5 the reverberation time
Page 33 and 34: ACOUSTICAL MEASUREMENTS IN ANCIENT
Page 35 and 36: channels four different signals, on
Page 37 and 38: The clarity for music C80, whose pl
Page 39 and 40: References [1] EU Project ERATO - I
Page 41 and 42: 2.1 The Greek Theatre The GE theatr
Page 43 and 44: 4 MEASUREMENT SETUP A high frequenc
Page 45 and 46: stage building causes the RT to dec
Page 47 and 48: 5.3 The Sound Level In Figure 6 the
Page 49 and 50: colonnade where the stage wall as a
Page 51 and 52: Table 1. Theaters and odea to work
Page 53 and 54: A Color Order System is a method of
Page 55 and 56: Figure 9. Seating rows of Jerash Th
Page 57 and 58: Figure 11. Lightmap and diffusemap
Page 59 and 60: Interactive visualization of the As
Page 61 and 62: oofing, the works of Izenour [11] w
Page 63 and 64: 3.5 Real-time Illumination with ‘
Page 65 and 66: correlation between the parameters
Page 67 and 68:
Third, once the texturing and garme
Page 69 and 70:
[19] Tecmath AG. Avilable from http
Page 71 and 72:
2 Crowd Engine Resume The crowd eng
Page 73 and 74:
3 Scenario Authoring Since the begi
Page 75 and 76:
Part Description User control 1.0 I
Page 77 and 78:
3.4 Results To conclude, Fig 6 illu
Page 79 and 80:
ANCIENT THEATRES AND ODEA AND CRITE
Page 81 and 82:
3. Conferences and Receptions: Oran
Page 83 and 84:
6 CHARTERS and the USE of ANCIENT P
Page 85 and 86:
7. Interpretation and presentation
Page 87 and 88:
References [1] ICOMOS - Internation
Page 89 and 90:
The measurements performed by UNIFE
Page 91 and 92:
1.3 Assessment of acoustic preferen
Page 93 and 94:
Distance 90,0 80,0 70,0 60,0 50,0 4
Page 95 and 96:
Multiple Regression « Speech » R2
Page 97 and 98:
References 1] Barron, M: 2004 The c
Page 99:
YTU Theatre Club “Male Group Acto
show all

ERATO Proceedings Istanbul 2006.pdf - Odeon

Create successful ePaper yourself

Delete template?

Save as template?