ERATO Proceedings Istanbul 2006.pdf - Odeon

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with close connection to a temple. It is also typical that the amphitheatre is located far away from the theatre and Odeon. The theatrical presentations were considered as a big event. Ancient theatre, in which not only dramatic productions took place but also stood as a huge multifunctional, social, religious, and political meeting space [4]. The theater is a specialized category of buildings designed for public assembly and performance. In every historical epoch, all theaters, both out door and roofed, have been used for many purposes, therefore, theaters are categorized technologically as being either multi purposes or multiple-use. A multi purpose theater is defined as a facility for public events as disparate as athletics and the performing arts. A multiple-use theater is defined as an exclusively theatricaltype, facility for public performance of music and performing arts [9]. 2 VITRUVIUS and THEATRE 2.1 Vitruvius Marcus Vitruvius Pollio is the author of a remarkable book on the art of Architecture (De Architectura), was for the Romans and much later for the world of the classical Renaissance, the master treatise on the art of building. But De Architectura which appeared between 27 and 23 B.C. [5] was far more than that, it ranges in its ten books over everything of interest and importance to the building trades, from the mixing of mortar from proper materials, to the acoustics in a stone theatre, and even to the art work which as fresco style was used to decorate the villas. There is little that Vitruvius did not touch on, one way or another, Vitruvius is our sole source of information on classical architecture and at a technical level. Vitruvius provides some interesting information in his Ten Books on Architecture; however, some of this information has often been misunderstood. Vitruvius was the chief authority studied by architects, and in every point his precepts were accepted as final. In some cases a failure to understand his meaning led to curious results .It must be borne in mind that his book appeared at the beginning of the Augustan age a period that witnessed remarkable architectural developments, not least in theater architecture. Hellenistic theaters enlarged and significantly altered in the first centuries BC; new theaters erected in the first and second centuries AD with Roman construction methods but with plans that imitate those of Hellenistic theaters. 2.2 Vitruvius and Theatre The Roman Architect Vitruvius, in his Fifth Book De Architectura, explains how to lay out a theater of Greek and the Roman type, the construction and proportions of the Greek and Roman theatres, the orientation and the acoustical vessels! [6]. The vessels mentioned by Vitruvius in the chapter on the Roman theatre have given rise to many speculations and misunderstandings from an acoustical point of view. Vitruvius does not mention the amphitheatre, because this is a later invention. Nor the Odeon, actually, the Odeon in Pompeii (80 B.C.) is believed to be the first of this kind of roofed theatre in the Roman style; this may explain why Vitruvius doesn’t mention the Odeon; at the time when he wrote his books, those roofed theatres were not yet a tradition as in the case of the open air theatre. 2.2.1 Vitruvius and the form, design of the Roman theatre The geometrical lay out of the Greek theatre, IV, ch.7 (1): in the orchestra, the angles of three squares touch the circumference, whereas in the Roman theatre we have the angles of four triangles. In the Greek the line of the proscenium (or stage) is drawn along the side of the square which is nearest to the scenery, where it cuts the circumference. On the same side, parallel to this 12
a line is drawn to touch the outside of the circle, and on this the front of the scenery is marked out. Through the centre of the orchestra, opposite to the proscenium, another parallel line is drawn; where it cuts the circumference right and left, centers are marked at the ends of the semicircle. Fixing the centre of the compasses on the right, with a radius equal to the distance of the left point, a circle is drawn to the left side of the proscenium. In the same way, the centre is fixed on the left and with a radius equal to the distance of the right; a circle is drawn to intersect the right side of the proscenium. 1 2 Figure 2. 1.Vitruvius geometrical lay out of the Greek theatre 2.Vitruvius geometrical lay out of the Roman theatre In the geometrical lay out Roman Theatre, V, and ch.6 (1): the centre is to be taken, of the dimension allotted to the orchestra at the ground level. The circumference is to be drawn; and in it four equilateral triangles are to be described touching the circumference at intervals .Of these triangles, the side of that which is nearest the scene will determine the front of the scene, in the part where it cuts the curve of the circle. Through the centre of the circle a parallel line is drawn which is to divide the platform (pulpitum) of the proscenium from the orchestra. .Thus the stage will be made wider than that of the Greeks because all the actors play their parts on the stage, whereas the orchestra is allotted to the seats of the senators. 2.2.2 Orientation Vitruvius mentioned that two factors were taken into consideration while choosing the site of the theatre, the Healthy place and good Orientation for the theatre: taking especial precaution that it be not exposed to the south; for when the sun fills the cavity of the theatre, the air confined in that compass being incapable of circulation, then is heated, and diminishes the moisture of the body. On these accounts, those places where bad air abounds are to be avoided, and wholesome spots to be chosen [6], so as to protect also the spectators on the theatre from the direct sunlight . If due care be taken in the choice of the situation, the effect of the voice will be improved, and the utility of the theatre increased. 2.2.3 Vitruvian resonating vessels The acoustics of open-air theaters was mentioned by Vitruvius. But he did not mention anything about the acoustics of roofed theaters. This earliest documentary discussion by Vitruvius shows interestingly his overriding concern is for acoustics, rather than vision, and this even extends to the rules he gives for seating design. Acoustic qualities suggestions raised by Vitruvius as to the advantages of placing bronze vases round the auditorium of theatres. ".... let bronze vessels be made, proportionate to the size of the theatre, and let them be so fashioned that, when touched, they may produce with one another the notes of the fourth, the fifth, and so on up to the double octave [6]. One reason for the success of the ancient Greek and Roman theatres was that disturbing environmental noise was generally quiet when they were in use. However, it is reported that the unoccupied seats and the heads of the audience also scattered sound to adjacent area [7]. 13
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 and 16: 5.3 Strength G vs. Distance 16,00 1
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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
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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
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Page 63 and 64: 3.5 Real-time Illumination with ‘
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[19] Tecmath AG. Avilable from http
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2 Crowd Engine Resume The crowd eng
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3 Scenario Authoring Since the begi
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Part Description User control 1.0 I
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3.4 Results To conclude, Fig 6 illu
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ANCIENT THEATRES AND ODEA AND CRITE
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3. Conferences and Receptions: Oran
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6 CHARTERS and the USE of ANCIENT P
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7. Interpretation and presentation
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References [1] ICOMOS - Internation
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The measurements performed by UNIFE
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1.3 Assessment of acoustic preferen
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Distance 90,0 80,0 70,0 60,0 50,0 4
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Multiple Regression « Speech » R2
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References 1] Barron, M: 2004 The c
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YTU Theatre Club “Male Group Acto
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