The morality plays, which first appeared in the 14th century, made use of no scenery or complex properties. Although some were performed indoors, most were offered outside on a stage that anticipated the English Elizabethan public theatre. A fixed facade was built at the rear of a large platform, and there were three openings at stage level that could be used to show interior scenes. A second level included similar openings, and a third level had a throne for the figure being honoured by the morality.
The last type of staging, and the one about which least is known, was the curtained platform. Toward the end of the Middle Ages itinerant professional actors who performed interludes required only a curtain behind them for staging. Howard Bay Clive Barker Courtly diversions
Another kind of theatre flourished in the courts—more or less impromptu entertainments, deriving from the medieval love of tournament. Essentially secular diversions, they were most sumptuously costumed and caparisoned, with the emphasis on spectacle. This type of theatrical entertainment grew in popularity throughout Europe, culminating during the 16th century.
Another manifestation of courtly theatrical display took place on the triumphant entry into a city of a prince and his entourage after victory in war or on the occasion of a neighbouring ruler’s visit. Public participation was usually invited, and sometimes mandated, to help augment the sense of occasion. Such entertainment was followed by private festivities held at court. On occasion, a group of strolling players would also be invited to perform in the great hall or courtyard of the palace.
The theatre of the Middle Ages was essentially one of participation, and throughout its development it never lost an intimacy between actors and audience. It was a theatre that combined realism with considerable symbolism. George C. Izenour Clive Barker Developments of the Renaissance
Just before 1500, Italian amateur actors were performing classical comedies on stages with no decoration except for a row of curtained booths. By 1589, complex painted scenery and scene changes were being featured in production in Florence. And by 1650, Italy had developed staging practices that would dominate European theatre for the next 150 years.
In the beginning of the Renaissance, there were two distinct kinds of theatrical productions. The first was of the type presented by the humanist Julius Laetus at the Accademia Romana, a semisecret society he founded in the mid-15th century for the purpose of reviving classical ideals. In terms of staging, several medieval-type mansions were clustered to form a single large unit. There were, however, two elements not found previously. One was that the mansions were probably framed by decorative columns. This was the first movement toward the framework that would develop into the proscenium arch—the arch that encloses the curtain and frames the stage from the viewpoint of the audience. (The first permanent proscenium was built in the Teatro Farnese at Parma, Italy, in 1618–19, a temporary one having been constructed by Francesco Salviati 50 years earlier.) The second innovation was that the mansions, by being linked, were treated as components of a general city street. In 1508 at Ferrara a background painted according to the rules of perspective was substituted for the mansions; the scene included houses, churches, towers, and gardens. The revival of theatre building in Italy
The revival of theatre building, first sponsored by 16th-century ducal courts and academies in northern Italy, was part of the general renewal of interest in the classical heritage of Greece and Rome. The ruins of classical theatres were studied as models, along with Vitruvius’ treatise on classical architecture. There were, however, new conditions that fundamentally affected design. First of all, the theatre’s move indoors gave rise to problems of lighting and acoustics. Second, the newly formulated laws of perspective in painting, when applied to stage and scenic design, brought about a profound change in the effect of a stage on an audience. The first Renaissance theatres, like those of early antiquity, were temporary wooden constructions in gardens, ballrooms, and assembly halls. Sometimes they were hastily erected affairs, put up to celebrate the births and weddings of ducal offspring or to commemorate victories in war. The theatrical performances given were mostly of allegorical pageantry, but the scenic spectacle was calculated to dazzle the eye and often succeeded. One court vied with another for the services of painters, sculptors, architects, and innovators in stagecraft. Such artists as Leonardo da Vinci, Michelangelo, Vasari, Bramante, Raphael, and a host of other Italian painters, sculptors, and architects, as well as poets, such as Tasso, and musicians, such as Monteverdi, strove to please and exalt the reputations, real or imaginary, of their princely patrons.
A more sober attempt to revive the classical theatre was made by the academies, organized by upper-class gentlemen who assembled to read and, on occasion, to participate in and to support financially productions of classical drama. The plays were generally of three kinds: contemporary poetic dramas based on ancient texts; Latinized versions of Greek dramas; and the works of Seneca, Terence, and Plautus in the original. Toward the middle of the 15th century, scholars discovered the manuscripts of the Roman writer Vitruvius; one of these scholars, the architect and humanist Leon Battista Alberti, wrote De re aedificatoria (1452; first printed in 1485), which stimulated the desire to build in the style of the classical stage. In 1545, Sebastiano Serlio published his Trattato de architettura, a work that concentrated entirely on the practical stage of the early 16th century.
Serlio’s treatise on the theatre had three especially significant items. The first was a plan for an auditorium and stage that assumed a rectangular hall, with spectators arranged in the same pattern as in the Roman cavea (i.e., the tiered semicircular seating area of a Roman theatre), the difference being that the semicircle of the audience was cut short by the sidewalls. Second, his three types of stage designs—tragic, comic, and satiric—were the same as Vitruvius’ classifications. Third, for the stage, he started with a Roman acting platform, but instead of the scaenae frons, he introduced a raked platform, slanted upward toward the rear, on which the perspective setting of a street was made up of painted canvases and three-dimensional houses. Since the perspective required that the houses rapidly diminish in size with distance, the actors were able to use only the front houses. Serlio used three types of scenes, all with the same basic floor plan. Each required four sets of wings (i.e., the pieces of scenery at the side of the stage), the first three angled and the fourth flat, and a perspective backdrop.
The Accademia Olimpica in the little town of Vicenza, near Venice, commissioned a famous late Renaissance architect, Andrea Palladio, to design a theatre. This, the Teatro Olimpico, was the first permanent modern indoor theatre, and it has survived intact. Palladio thoroughly researched his subject (the outdoor classical theatre of Rome) and without knowing it designed something now considered very close to a Roman odeum. It is a scaled-down version of an outdoor Roman theatre, with shallow open stage and a heavily sculptured, pedimented, permanent background. A colonnade of heroic proportions, surmounted by sculptured figures, surrounds a steeply stepped bank of seating. Overhead is a painted sky. To promote an intimate stage–auditorium relationship, he used a flattened ellipse in planning the seating, rather than the classic half circle. The interior was to be lit by tallow candles mounted in wall sconces. Palladio died before the building was finished, and his follower Vincenzo Scamozzi completed the work in 1585. Behind the five stage entrances (attributed to Scamozzi) are static, three-dimensional vistas of streets receding to their separate vanishing points; it is not certain whether this was the intent of the original design. In performance, the theatre is efficient if the auditorium is full, and speech carries quite well because of the small volume, flat ceiling, modulated sidewalls, excellent vertical sight lines, and direct hearing lines from all seats to the stage. The exterior is an ungainly, masonry-walled structure with a wood-trussed, tiled roof.