THEATRES

Historical Review

The design of theatres requires an understanding of complex

functional interactions, of which much is explained by the history
of theatres. This is an architectural challenge, which has been
interpreted by various societies for more than 2500 years. Each
theatre building today stands in a great tradition, even if it is
marked by efforts to escape from this. A few examples should
throw light on the historical development of this type of building -'>
0 Theatre of Dionysos, Athens, f) Theatre of Marcellus, Rome,
o- 0 -" p. 21 o -" o- e.
452-330 BCE: plan 11 ,500 seats, 11 acE: plan
Ancient theatres
Theatre of Dionysos, the start of European theatre building
A, Band C:
parts ofthe
-'> 0. Greek theatres were located next to towns and
stage embedded in the landscape. Theatre of Marcellus, Rome. The
1 first gate
2 hell first theatre in Rome built completely of stone -'> f). Rows of
3 Garden of
Gethsemane 12 seating and the back wall of the stage were connected and of
4 Mount of
Ol!ves the same height.

\ Middle ages
Medieval stage theatre. Temporary stage and buildings -'> 8.
crosses Interior space of the Swan Theatre, according to a drawing
20 Christ's cross
21 Holy by van de Witt 1596. Only a curtain separated the front and
Sepulchre THEATRES
"---'-'--'--' 22 heaven
back stages and the upper stage served for balcony or siege
scenes -'> 0. Historical review
C) Plan of medieval stage facilities 0 Swan Theatre, London Typology
Auditorium
Renaissance Stage
A: changing room
Subsidiary rooms
B: higher backstage section, slope
up to 1:9
The early Italian Renaissance theatres were temporary wooden Workshops and
C: frontstagesectlon,ralsod installations in existing halls -'> 0. Vasari, for example, developed staff rooms
1.10m above floor level 0 Rehearsal and
E: orchestra a wooden, reusable system for the theatre installation in the Salone public rooms
F: seatlngareaforgovernorsand
highest dignitaries
dei Cinquecento in the Palazzo Vecchio, Florence. Teatro Olimpico, Modernisation
G: seatsfornoblo.s'wivcs Vicenza -'> e. The first permanent theatre of the Renaissance,
G-H seats for first rank nobility
which resumed the ancient tradition of theatre building. Semi-
H--Jseats forsocondranknobility
J: from hera upwards, nobility of circular and rising rows of seating for the audience and a stage
lesser standing
K: seats for tho commonars
house with fa<;:ade. Next to this were the loggia courtyards with
L: proscenium spectator boxes arranged in a horseshoe. The Teatro Farnese,
M: wall of the hous~:~ or hall onto
whlchthetheatrewasbuilt Parma -'> Cl) + 0 was the first building with movable scenery
P: final back-drop of perspective
stageset,atleast60mfromM
system in a deep stage space.
so actors can pass behind

0 Theatre layout, Sebastiana Serllo, 1545

0 Teatro Olimpico, Vicenza, 1585, section and plan Arch.: Andrea Palladia and
Vicenzo Scamozzi
e Section ofTeatro Farnese, Parma, 1618-1628 Arch.: Giovanni Battista Aleotti

f) Teatro 'San Carlo', Naples, 1737 Arch.: Antonio Medrano and Angelos Carasale Cl) Teatro Farnese, Parma, 1618-1628 Arch.: Giovanni Battista Aleotti

209
 THEATRES
Typology

Baroque
The theatre with boxes and a 'peephole' single-room stage steadily
became more prevalent. Teatro 'San Carlo', Naples, p. 209 ---7 0,
and Teatro alia Scala, Milan ---7 0 + 8 are considered the models
Q Section, Teatro alia Scala, Milan, 1779 Arch.: Piermarini for the building of opera theatres in the 18th and 19th centuries,
but also the new 'Met', in New York 1966.

19th and 20th centuries

Festival Opera House, Bayreuth ---7 8 - 0. Richard Wagner
introduced this form of theatre (auditorium in a classical semi-
circle and rising) and set a counterpoint to the Grand Opera in
Paris. Totaltheater Project (Gropius/Piscator), cf. 'The Stage in the
Bauhaus', Dessau 1924. Note: audience space can be rotated,
stage with paternoster system, surrounding projection on walls and
ceilings ---7 9 - 0. Playhouse on Lehniner Platz, Berlin, first large
new building of a flexible theatre space (rebuilding of the Mendelsohn
building, 'Universurn', of 1928) ---7 p. 213 ---7 f!)- f). Opera Bastille,
f) Teatro alia Scala, Milan, 1779 Arch.: Piermarinl Paris, the largest theatre yet, with 10 side stages on two levels.

Tendencies in current theatre building

There are two tendencies today:
THEATRES 1. Preservation, restoration and modernisation of existing theatres
Historical review from the 19th to mid-20th century ---7 p. 218
Typology
Auditorium 2. New buildings with 'experimental' open-space character, e.g.
Stage Playhouse on Lehniner Platz ---7 p. 213. A similar direction is
Subsidiary rooms
Workshops and demonstrated by the many projects to rebuild existing spaces
staff rooms into workshop theatres with a size of 80-160 seats.
Rehearsal and
public rooms
Modernisation
Different types of theatre building
1. Opera house:
This belongs to the tradition of 18-19th century Italian opera
buildings ---7 0 - f). It is characterised by a clear spatial and
architectural separation between auditorium and stage, by high
C) Section, Festival Opera House, Bayreuth, 1876 R. Wagner and Arch.
numbers of seats (1 000 to nearly 4000) and the corresponding
0. Bruckwald
system of boxes or tiers, which is necessary for so many theatre-
goers, e.g. Scala, Milan, 3600 seats; Deutsche Oper, Berlin,
1986 seats; Metropolitan Opera, New York, 3788 seats; Opera
Bastille, Paris, 2700 seats. The counterpoint to the form of opera
house as tiered/box theatre is the Festival Opera House, Bayreuth
---7 8-0. This is designed as a theatre with stalls according to the
Greek and Roman pattern, but has only 1645 seats.

2. Playhouse:
This is in the tradition of the German reform theatre of the 19th
century. It is characterised by the stalls layout (that is, the audience sit
on a large, rising and curved floor) and by a pronounced apron stage
(area in front of the proscenium), which can be used for the play as
well. The playhouse also, however, follows the tradition of the English
theatre ---7 p. 209 0. i.e. theatre in the round. The open and variable
8 Festival Opera House, Bayreuth, 1876 R. Wagner and Arch. 0. Bruckwald
layout became more intensive with the spatial experimentation of
theatres in the 1970s. Variations in layout are shown, for example, by
the Playhouse on Lehniner Platz, Berlin ---7 p. 213.

3. Multi-purpose theatre:
This mixed form of opera, theatre and ballet is a speciality in
German-speaking regions. The space is mostly characterised by
the predominant influence of the opera. The frequent changes of
scenery are enabled by the appropriate subsidiary rooms (store,
scenery store, workshops). Example: Heilbronn City Theatre,
Arch.: Biste u. Gerling 1982 ---7 p. 217 0.

4. Musical theatre:
Actually no separate type of building, but rather a theatre built,
usually, for a particular musical by an impresario. A specific
challenge for the designer is the adaptation of the building to the
0 Waiter Gropius: Design for the 0 -'> 9 Stage rotated concept of the musical without neglecting the needs of later uses
'Totaltheater', 1927 for other productions.

210
 THEATRES
Auditorium

In addition to the local building regulations, decisive for the design of

f--;;; 90 ----1 better 96--1 00 theatres are the Places of Assembly Regulations of the relevant state.
<0 T This is based on the Model Places of Assembly Regulations, which
i 5;

1
50 can vary in detail from those of a particular state! This legislation
applies from 200 spectators. It should be noted that it is not the actual
~
-" number of seating or standing places that counts: it is assumed that
there are two spectators per m 2 in the place of assembly (for rows of
0 Seating must be fixed according to f) Staggered folding seats offer
seats; two spectators per running m for standing places).
Places of Assembly Regulations. freedom for elbows Auditorium and stage/acting area
Minimum dimensions are not Size of auditorium: the number of people in the audience gives
adequate for theatres!
the required floor area. For seated spectators, assume E":0.5 m 2/
door spectator. This number results from:
................................................. .....................................r- 1.o -\ ................ ..
seat width x row spacing
1.2
----Tr-I'T'ITTaisle_______ _ E":0.45 m 2 /seat
add E":0.5 x E":0.9 =0.05 /seat
25 seat~:il l±l IJ
E":0.50 -7 0

----~-tl-ftr--------
m
25 seats
Length of the rows of seats per aisle: 10 places -7 0 +
25 places per aisle if an exit door of 1.2 m width is available at the
e,

---- ___ jill__rj__~---------- side per 3 or 4 rows -7 0

Exits, escape routes 1.2 m wide per 200 people -7 0- e.
1.0 3- 4 rows aisle THEATRES
~ ..~
..~
...~,m~m~m~~~.~ ~m~mNm,,m,m,,mo,m,~,
1% of the seats (at least two) must be accessible for wheelchair users,
:::::::::::::::::::::.·::.·:::::::.·:::::::::.·::::. ..","
Historical review
if possible in connection with a seat for an accompanying person.
8 Row width 20 places 8 Row width 25 places, door needed
Auditorium volume
Typology
Auditorium
1----- 2.0 - - - l Stage
This is determined by acoustic requirements (reverberation) -7 Subsidiary rooms
p. 221 as follows: playhouse approx. 4-5 m3/spectator; opera house Workshops and
staff rooms
approx. 6-8 m3/spectator. Air volumes must not be less for technical
---t ---1Jilllit··-- ventilation reasons, in order to avoid too rapid air changes (draughts).
Rehearsal and
public rooms
Modernisation

----1t0-s::~~U__U__U __ U_____ _
Proportions of the auditorium
These are derived from the psychological awareness and angle of
aisle view of the spectator, or the requirement for a good view from all
seats. Options are:
---- -----~----~---~----~-
::: :. . : ;: -------
10 seats . · . :_ •, 1. Good view, without moving head, but light eye movements of
J ____ -- ----
:::::::::::::::::::::::::::::::::::::::::::::::. 1---- 2.4 ---l
approx. 30°.
2. Good view with slight head movements and light eye
0 Row width max. 10
places, side 0 Boxes may have ~20 loose chairs, movements of approx. 60° 0.
aisle at left and right or fixed seating if necessary; per
person ~0.65 m2 floor area
3. Max. awareness angle without head movement approx. 110°,
i.e. all actions in the field are 'in view'. Outside this field, there
1. 2. I0-Jine (proscenium line) is uncertainty, because 'something' is out of view.
last middle
row 4. Full head and shoulder movement allows an angle of view of360°.
proscenium width Proportions of the classic auditorium
at 24m~ 13m
at 32m~ 17m Opera, multi-purpose theatre, and traditional playhouse -7 0: distance
of the furthest row from the start of the stage should not exceed:
- playhouse, max. 24 m (max. distance for the recognition of facial
expressions); opera, 32 m (large movements are still recognisable).
Auditorium width is determined by the spectators at the side being
able to see the stage adequately -7 G. The comfortable proportions
24(32)m stage and sometimes good acoustics of the classic theatres of the 18th and
auditorium
19th centuries are based on particular rules of proportion -7 0 - GD.
0 Proportions of traditional auditorium plan

--. II I 0-llne CA=4R CA = CB =radius of the semicircle AB

::: 1111 -width of auditorium j e:~d~~enium account is taken of the
AB = tangents CE =CD=2CA
E = mid-point of the arc BE'
A -last row --._BI fact 1hat the hatched D =mid-point ofthe arc AD'
8/C - proscenium width~ --J~'777.'777777l' section cannot be seen
BCDE- acting area of stage /I by the side seats

fi ·--·--·-...
A. : .
p

·-- P =point to
determine
width of
D

--·__..-·..-C. auditorium
.--· ~ 2 x proscenium width ----4
.--·-- ~ 1 x proscenium -l
I width Design of auditorium's contour, Design of the auditorium's curve,
depth of stage acting area
Teatro alia Scala, Milan.
e Auditorium width
Grand Th68.tre, Bordeaux
Arch.: Victor Louis 1778 Arch.: Piermarini

211
 0-llne,
1proscenium line THEATRES
. 1. 2. 3. 4. 5.row . Seating
I
. lines of sight,
I I I
super-elevation
I I

.lo ~:~T
1
as """"• ' T -1.10 :..-- The elevation (gradient) of the seating in the auditorium is
:::}:.•.z.:J,I)):::.•::,IJ~ _L--- ~uper-el~vation
. 1
pont T -1.10 [ ----
of derived from the sight lines. The sight line construction applies
I forestage height :•:.'.:.:::::::::::. - - - eye lev~l- ~~~ ~~!'g1hi~~ery for all places in the auditorium (stalls, but also tiers) --7 0. It can
i ~~~·d.~o~.90m f~~,s~~~~g {or6_cm'perrow); be assumed that the spectators sit sensibly and so only every
j · · · ~~~~~edn\ OJ~~ not second row requires full sight super-elevation (12 em). Specialised
0pron stage above this, steps
I = 4-Sm --t--- 1.5 -1---o.a +o.a-+o.a -10.9--+-------. mathematical literature addresses problems of view in the theatre,
including, for example, the distribution of people's heights.
0 Elevation of seating (gradient) Rows of spectators should be positioned in arcs, not only for
better alignment toward the stage, but also to achieve a better
perception of each other (security effect) --7 8. The stepped side
----------------!Ideal logarithmic rise
:..._. ___________ _ _______ ....- aisle must rise 10-19 em and the tread must not be less than
26 em. The floor between the seats must be on the same level as
~0'-'0»>T~0'-'0»>T0'-'00'-'0~rn Modification as broken the adjacent aisle at the side.
:·:·: straight line

Overall layout of the auditorium

f) Gradient curve and its modification Firstly, determine the height of the proscenium. In stalls theatres,
the relationship should be:

middle seats proscenium height 1

proscenium width 1.6
THEATRES
Historical review side seats
Typology
This derives from the golden section and the physiological field of
Auditorium 1. 2. 3. 4. 5.row awareness, respectively --7 0. After determining the proscenium
Stage
Subsidiary rooms 0 Offsetting of the seats In a row is achieved through variable seat widths (0.5()-{).53-0.56)
height, the ramp height, the pitch of the stalls and the volume of
the room, this gives the room height. The ceiling is to be adapted
Workshops and
staff rooms l!!li!!l!llll!!l for acoustic requirements. It should be the case that the noise
Rehearsal and II ! I f ! ! i l ! ! i i ! ! l l
public rooms reflected from the stage and apron is distributed evenly over the
llll!!l!!l!i !!!Ill
Modernisation room --7 0.
g;,"«;llllllll!!l!l!l.':':':'l
For tiers, it is important that there is also a sufficiently deep view
feeling of integration {mutual perception)
of the stage from the uppermost level --7 8- This may render it
necessary to make the proscenium higher.

Proportions of an experimental space --7 p. 213

These are neutral or open theatre spaces, which permit different
arrangements of spectators and stage areas. This variable
arrangement is achieved through:
G Contact relationship between the audience and the stage and with each other A. Mobile stage platforms and mobile stands for the audience on
a fixed floor.
overall perception width ~
.._..______ ___. - - 3D visual field for B. Mobile sections of floor, which consist of moveable podiums .
both eyes This solution is technically more elaborate and is therefore
used only in larger spaces for min. 150-450 or more people.
The simpler option A is particularly suitable for smaller theatres
and for unused spaces, which normally do not have extensive
space underneath. Size: up to max. 199 places, because the
regulations apply from 200.
199 seats x 0.5 m2 =100 m2 (2/3) + 30 m2 (1 /3) stage area =130 m2 ,

9 Field of perception and proportions of the proscenium arch

circle 2

T stalls
Air volumes
min. 2m
............................................................. .......:.::-·
.. .......... :·:-:·:·:·
Actors
Actors 4-5 m 1>
Opera 6-8mb.
···············::~;;~;~~·~:-~;~ ..Y::t·:·.-:·:-.. . . . . .:-:-:-:-:-::::::-~::·:-:.--·- per spectator
(stage)

e Tiered theatre and view of stage

Acoustics must be adapted through appropriate measures like ceiling shape or
acoustic 1Sails' -----7 p. 220

212
 extendable
THEATRES
Stage
Tr--r-.----.----.----,
2.20
lr----L----~--~L_--~
A. extendable stand; on Size of stage
rollers or air cushions·
volume The Places of Assembly Regulations, which apply to all venues

~· .,,:..,.,.,' .:.:::·~·~· ~ .. t.~'"'"J"'*"

with audiences of more than 200, differentiate two types of stage:
large stage and open stage (single-room theatre).

Large stage
flat floor extended folded
Large stages are defined as having a stage area of more than
B. travelling folding podium,
height adjustable 200 m2 behind the stage opening and with an upper stage of
0 Experimental theatre space
2.5 m height above the stage opening or an apron. The essential
requirement is the fire-resistant separation of stage and auditorium.
This necessitates an iron protection curtain between the stage and
the auditorium in case of danger.

Open stage
Open stages are divided into those with more or less than 200 m2
and those with or without sprinkler systems. The special feature of
open stages is the regulations about curtains and scenery. These
affect above all the operation and not the design of the open stage.

Spaces for experimental forms of theatre (black box theatres)

tables and chairs all can abolish the separation of stage and audience in various ways
directed play with round, dance band at
1fa orchestra pit the back:, dancing floor In through differentiated design of the floor topography (mobile THEATRES
(234 seats) the centre (178 seats)
sections of floor or podiums) and the free distribution of audience Historical review
f) Space variants, at the MOnster City area and stage. Example: Playhouse on the Lehniner Platz, Berlin
Typology
Auditorium
Theatre, Kleines Haus
~e-o. Stage
Subsidiary rooms
Workshops and
Section of the room for single-room {black box) theatres staff rooms
Rehearsal and
Single rooms can make do without the technical ceiling ~ 0, but public rooms
manual lifting devices can be provided (battens, which are lifted Modernisation
into the ceiling with manual hoists). In large theatres, a smaller,
more variable space is often included for experimental theatre.
Examples: Podium Ulm, Arch:. Schafer, approx. 150-200 places,
1969 ~ 0 + f); Kleines Haus MOnster, Arch:. v. Hansen, Rane,
completely Ruhnau, 1971, 180-380 places, central field of the floor can be
for lectures and
free room
(for exhibitions,
varied with mobile podiums~ f)- e.
conferences the dances, etc.)
whole room iS reduced
to one level; small podium
for the directors and speakers

.-....? f) Arch.: v. Hausen, Rawe,

Ruhnau

e Ulm Theatre, section through podium Arch.: Fr. Schafer e Playhouse on the Lehniner Platz, Berlin, 1982 Arch.: J. Sawade

0 Playhouse on the Lehniner Platz, six variants for arrangement of possible open
f) Podium Ulm, six variants for arrangement of performance areas stages

213
 THEATRES
Stage

Scenery stage
The classical stage system of the 18th and 19th centuries had only
the main stage; the scenes were changed, in little space and with
uncanny speed, using sliding painted scenery. A small rear stage
had the function of providing room for deeper stage perspectives
~o.

Full stage
In order to be able to quickly change more elaborate and
sculptural scenery structures, stages were supplemented by
wings and under-stages of about the same size. Complete
+I Pullout:
scenery
l Moving:
carriage
sets of scenery were mounted on wagons, lifting platforms or
turntables and could be prepared with little effort during the
performance~ e.
t Pull
(bar/point)
......._. Carriage

For design purposes, the technical constraints must be established

Lift/lower
;) Turning: - ~f- early, e.g. whether a turntable on a wagon is sufficient or whether a
stages
(revolving stage)
turntable with single lifting elements or even a two-level turntable
;~ Turntable o&!'_:'~~
Tilting:
sloping should be used.
stages

0 Backdrop theatre: change of scene f) 'Peephole' single-room stage. Large Proportions of the stage
THEATRES by pushing the painted scenery wing and rear stage areas enable the The proportions of the stage are developed from the sight lines in
Historical review quick changing of scenery structures
the auditorium. The stage is the area for acting and also a handling
Typology
Auditorium and working area. The conventional layout of a traditional full
Stage
Subsidiary rooms
stage~ e-e.
:-:·J·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:-:-:-:-:-:-:-:·:·:·
Workshops and
staff rooms
Rehearsal and
. . :tj Roller platform t: The mobile scenery surface is formed by platforms of adjustable
height or through lifting platforms. The variability of form is
[::.·::::::::.·::::.·:.·:.:l.~~B:~.:..~..:.~~-:::.:::.....:}1
public rooms
Modernisation Upper stage fL::::::::::::.·:.·:: achieved by splitting the surface into separate flats. Basic
· Li hting e uipment : with galleries ·::;: module 1 x 2 m.
Foyer ., :1'! l: Adjustable for pridge :.~_-:.
Public or proscenium Section of stage
:-:·:·:·:-~:~-~::-~.:-:·:·:-:-:-:-:::·:·:·:·:·~.':.':
......:::::]-:_;- ! I
1
• Main stage
Understage
....................::::
:::::::::::::::::::::::.
The size of the stage space is determined by the number of
scenery sets to be kept ready, which can be moved into the
·: ::::.·:::·t'.·:.·:::.·:::::.·:'...:'·:::::::::
Orchestra pit 1 0-line level of the "iron curtain" stage quickly by lifting or pushing. At least one rear space and
one wing are usual. The height of the stage space is determined
0 System section of theatre
by the (iron) safety curtain, which must be able to close the fire
compartment between auditorium and stage within 30 s in case
of fire. It is a complete closure joined at the ends to a fire wall
(F90) and no cables or scenery are permitted in the space for the
® multi-section orchestra safety curtain.
lifting podium
® back-drop lifting stage
(J) proscenium towers Stage direction room
@stairs Control of lighting and sound on stage, with sound mixing desk, light
® stage manager's lift controls, computer connections and projection equipment~ f).

G) lifting podia, two-storey

@ lifting podia, single-storey

® scenery transporting
@ steel safety curtain
@ border curtain- side stage
@ border curtain -rear stage ® side-stage trolley with
(13 divisible main curtain compensating podia
@) rear-stage trolley with
turntable and compensating
podia
e Typical plan of opera house 0 Typical section of opera house--> 8

214
 doors for the general public, 1-5. allow THEATRES
space to compensate for height differences
3J 4 Subsidiary Rooms
doors uniformly
distributed for
2 variable room use
E
Experimental (black box) theatre
Open stages require subsidiary areas for scenery and storage
room height places for platforms and stands. The subsidiary areas should be of
connecting doors the same size as the stage. The space required for storage can be
D A-E, height of the
secondary area as calculated from the folded platforms and stands. Subsidiary areas
for the room itself
plus storage area amount to about 30% of the total area--> 0.
secondary/storage areas Considerably less scenery is used with open stages than with
normal stages, the reasons for which are:
0 Subsidiary areas/storage space for open stages
- the stage is viewed from many sides.
- regulations limit the use of scenery for safety reasons.
Large stages
Storage areas are required for:
Scenery, backdrops, furniture, props, costumes, hats, shoes, make-
up, wigs, lighting, etc. Scenery and costume stores require a great
amount of space.
Scenery store:
traditional storage of back-drops
- on edge in boxes, manual transport, modern back-drop storage Specially for heavy items. Location: at stage level and immediately
large proportion of area required, - loading of containers by hand from next to the stage. At access points and on traffic routes (particularly
height: 9-12m secondary stage, or specific storage areas
- in boxes, manual transport, large - transport of container to external store at fire exits and lifts), the height of the scenery, normally proscenium THEATRES
proportion of area required for moving - computer-controlled storage of
containers in multi-storey shelving height+ 2 m, must be taken into account. Historical review
f) Storage near the stage 0 Storage in containers A rough estimate for the size of the scenery and costume store
Typology
Auditorium
can be made from the number of productions in the repertoire and Stage
Subsidiary
the frequency with which they are played. For theatres the number rooms
of productions might be 15-20 and for multi-purpose theatres and Workshops and
staff rooms
opera up to 50 per season. About 20-25% of the stage area is Rehearsal and
required for storage per production, i.e. for theatres about 3 times public rooms
the stage area, for the opera at least 10 times. Practice shows Modernisation

that, as time passes, the store always turns out to be too small,
T and theatres, and particularly operas, have to make arrangements
outside the building.
The high cost of transport has forced the introduction of the
most modern transportation and storage technology: container
systems with computer-controlled warehouse technology (per
performance about 2-4 containers - in special cases for operas
about 12 containers).
Examples:
Deutsche Oper Berlin: the stores are in direct connection with
the stage --> 0
Nationaltheater Mannheim: storage outside the building in
containers.
The storage area required for costumes is determined by the number
of productions in the repertoire and the size of the ensemble, e.g.
for opera: the chorus and ballet in addition to the singers. Space
.l required for costumes: 1-12 em/costume or 1-15 costumes per
running m of rail --> 0- 0.

0 Deutsche Oper Berlin, plan

Main stage Bacl<sta:J Scenery store

wr ,-se-m~'> <
Store

Workshop
Wing
room

.__.___ __,LAJ L-J.

Painter's worksh;-1 Joinery ~veries
Access points from the subsidiary areas to the stage. Height and location of doors Two-level hanging and storage of
0 Single-level -> 0
and lift must be determined from max. backdrop height and fire protection measures costumes in fixed clothing storage

215
 90 -----------------------;
1---- 25 ---t-3+-6+-10+6+-12 --t--17--+3+--a-;
THEATRES
Workshops and Staff Rooms

Workshops for production of scenery

The area required for scenery workshops is 4-5 times the main
stage area for medium-sized theatres (theatres and multi-purpose
theatres); in large opera houses or double theatres (opera
and theatre), 10 times. Workshops, in or outside the building,
paint store; 30m2 should always be accommodated on one level. The Workplace
2 paint mixing; 30m2
3 sculpture store; 78m2 Regulations and their technical rules and the work protection
4 sculptors; 130m2
5 spraying room; 78m2 and accident prevention rules of insurers have to be taken into
6 loading ramp account in the design. In some cases, the company and collective
7 construction room; 144m2
8 metalworking shop; 204m2
9 supervisor; 12m2
agreements with the employees can also have an effect.
10 we Scenery workshops are categorised as follows:
11 wood store; 174m2
12 supervisor; 12m2 a) Painting room:
~6+-19 13 steel store; 96m2
1---- 25 ---1 The floor area must be designed to accommodate two large
50
backdrops or 'cycloramas' (Rundhorizonte - curved backdrops)
0 Workshop building, ground floor Arch.+ Techn.: Biste u. Gerling rolled out on the floor for painting. The average size of a cyclorama
is 10 x36 m.lt must be possible to sub-divide the room with a thick
1---- 3.0 --+- 3.0 ---1 curtain for spraying work. Also required are underfloor heating to
dry the painted backdrops; wooden floors for spreading out the
canvases; a gallery from which to check the work lying on the
floor. The painting room is located next to the sewing room (with
a size about 14 of the painting room) joining the pieces of material.
THEATRES b) Carpenter's shop:
Historical review Divided into bench and machine rooms, it has wooden floors and
Typology
Auditorium an adjoining timber store for 3-10 productions.
Stage c) Upholstery: approx. 1/10 area of painting room.
Subsidiary rooms
Workshops and d) Metalwork: as carpenter's shop, screeded floor.
staff rooms Soloist dressing room Soloist dressing room e) Sculpture workshop.
Rehearsal and S;3.8-5 m2/person ~5 m2/person
public rooms
f) Workshops should be grouped round an assembly room, which
Modernisation serves to test-assemble the scenery and has the same floor area
1-- 3.0 --+- 3.0 --j as the stage. The height should be proscenium plus 2 m, diameter
f-- 3.0 ----+- 3.0 --;
9-10m.
0 DODO g) Changing, washing, and rest (canteen) rooms are to be provided
0
0
c::o for technical staff, and offices for the technical management.
Further workshops for sound, lighting, props and costumes, size
DODO
0
c::o as required (production intensity, personal equipment).
Personnel rooms
Artistic staff, stage manager, administration. Historically, personnel
rooms were situated on both sides of the stage: left, ladies, right,
Chorus dressing room Dressing and tuning-up room for gentlemen, although this was operationally impractical. Today,
~2.75 m2/person orchestra players i=:';2 m2/person these rooms are located on one side, opposite the technical side
on several floors. This includes make-up, frequently also the
f--- 3.0 --!-- 3.0 ---1 costume workshop, administration and stage manager.
1---- 3.0 ----j
Dressing rooms: ---7 f) - 0 typical floor plans.
DO
D
DO Visitors Sanitary facilities
DO for 30-40 female visitors 1 we, 1 washbasin
D
DO
for 40-50 male visitors 1 we, 2 urinals, 1 washbasin
for 1DOD visitors 1 wheelchair we, accessible
Theatre and opera performers incl.
chorus, ballet and extras
e Dressing room for additional chorus
and/or extras ~1.65 m2/person
f) Changing and rest room for
technical staff
for 10 female performers
for 15 male performers
1WC
1 we, 2 urinals
for room for 1 soloist 1 washbasin
for dressing rooms for 2 soloists 1 washbasin, 1 shower
for the soloist dressing rooms 1) together 2 baths
for every 4 ballet, chorus memberorextra1l 2 washbasins, 1 shower
for the bailet 1l 2-4 foot washbasins
0
0 Staff of workshops etc.
0 for 15women 1WC
for20 men 1 we' 2 urinals
0 for 4 people 1l 1 washbasin
for 5 people 1l 1 shower
for 10 people 1l 1 bath

The composition of the visitors is assumed to be 3/5 women and 2/5 men.
1> The facilities are to be provided separately for women and men.
Dressing room for ballet Make-up room and work room for
group S;4 m2/person make-up artist Cil) Guidelines for sanitary facilities in theatres

216
I I":J----~~k.~~/71------- I I
THEATRES
I a.Q) I I Rehearsal and Public Rooms
~! !~~ i
c~;:;"""'-max.
~~
;:1 15: 0
~~ ·~e!" playing !:@
5:1
:
~§:/area~'~
@~ I : \] Rehearsal rooms
~~l .I C1+~ Every theatre needs at least one rehearsal stage to back up the main
All -; 1.0
_J ~ i ·-
r"AII
stage. For example, a small theatre: the main stage has the scenery
of the current play and the rehearsals take place on the rehearsal
forestage/orchestra pit
I stage. The dimensions should correspond to the main stage. Typical
production space,
--oT-· storage area - - - - floor plan of the rehearsal stage of a traditional theatre -7 0. Multi-
co; Above: lighting/sound
purpose theatres and opera houses also require: orchestra rehearsal
B recording studio ca. 1.4m2jsinger, minimum 50m2
ca. 7 m3fslnger room -7 e, chorus rehearsal room -7 e, soloist rehearsal room and
0 Large rehearsal stage, typical plan f) Chorus rehearsal room, typical plan ballet room.
Experimental theatres
These also require, in reduced form, staff and rehearsal rooms,
workshops and stores, if in continual operation.
Technical rooms
ca. 2.Q-2.4m2Jmusician
ca. 8.0-10m3fmusician Rooms for transformer, medium- and low-voltage switchgear,
emergency power supply batteries, air conditioning and ventilation
plant, water supply (rainwater system), according to local conditions
and specialist design work.

~
Public rooms
The classical Italian opera had only narrow entrances and stairs,
F-------------------------CI with no actual foyer. This makes the generous public rooms at the
Grand Opera in Paris particularly impressive. The Vienna theatre
THEATRES
Historical review
C) Orchestra rehearsal room, typical plan fire in 1881 led to extensive changes: the audience is now required Typology
to have enclosed emergency stairs for each tier. This requirement Auditorium
Stage
continues in principle today (Public Assembly Regulations). Subsidiary rooms
Workshops and
In the traditional theatre, the foyers are split into: actual foyer staff rooms
(lobby), restaurant (buffet), smoker's foyer. Area of the foyers Rehearsal and
public rooms
0.8-2.0 m2/spectator (more realistic is 0.6-0.8 m2/spectator). The Modernisation
function of the foyer has changed today: it must include provision
see also:
for exhibitions, performances and regular plays there.
Location of
Cloakrooms building -> p. 223

Per 100 visitors: 4 running m of rail. Sometimes lockers are also 8-0
provided: one locker for every four visitors. The foyer is also a
waiting and queuing room, and has the usual extent of associated
WCs: one WC/1 00 people. 1fa gents, 2fa ladies; min. one gents' and
one ladies' WC. Total number of sanitary facilities: -7 p. 216 G).
1 entrance foyer Entrance hall (lobby) with day and evening cash desks, which
2 cloakroom foyer
3 tickets
should be opposite each other.
4 ticket office
5 steps to External access, emergency exits
underground garage
6 steps
According to local conditions -7 p. 211 0 - 0 and Public
7 visitors' we Assembly Regulations.
8 studio foyer
9 studio
10 canteen
11 kitchen
12 kitchen store
13 orchestra pit 18 conductor
14 substage 19 director 23 changing rooms
16 rehearsal room 20 tuning room 24 battery room 26 medium·voltage
16 extras 21 stores 25 low-voltage switch room
17 choir 22 electrical shop switch room 27 transformer cells

e Entrance floor of Heilbronn City Theatre Arch.: Blste u. Gerling

Evacuation plan, Trier City Theatre (626 seata) Arch.: G. Graubner and
H. Schneider; stage technician: A. Zotzmann 1964
e Evacuation plan, LOnen City Theatre (765 seats) Arch.: G. Graubner;
stage technician: W. Ehle 1958

217
 THEATRES
Modernisation and Extension

Saxony State Theatre, Radebeul

The home base of a renowned travelling theatre that covers
the entire spectrum of a multi-purpose stage company (music,
dance, theatre) consisted before rebuilding of a conglomeration
of extensions and reconstructions at various times of a former
hotel hall. The intention was to relieve the resulting functional
and organisational problems and improve the external
appearance.

The entrance for the audience was extended with a new two-
storey foyer area of steel and glass, in which the cloakrooms,
lobby and a snack bar could be integrated.

An extension of the storeroom and wings was possible only on

one side because of the plot boundaries and the topographical
situation, but the mostfunctional possible connection of workshops,
rehearsal rooms and props was still the intention. Another feature
was the improvement of fire protection and workplace safety.

The existing stage equipment was only renewed and slightly

extended. No elaborate solutions like lifting platforms or turntables
THEATRES
were planned, in order that plays developed here can also be
Historical review
Typology
presented on simple stages on tour.
Auditorium
Stage The extension of the existing building with new elements will still
Subsidiary rooms
Workshops and be possible after completion.
staff rooms
Rehearsal and
public rooms
Modernisation

G) New foyer @stage

®Main foyer @wtng
@ Theatre courtyard @ Stage make-up
@ Cloakrooms, WCs @ Scenery store
® Auditorium @Store
@Canteen @ Changing/orchestra practice
(J) Changing rooms @ Small rehearsal room, ballet hall
0 Saxony State Theatre Radebeul, ground floor with new @ Orchestra pit @ External restaurant
building hatched

f) Saxony State Theatre Radebeul, sections Arch.: meyer+ bassin, Dresden

218