During the 18th Century several French scientists before Pierre Patte proposed a new idea of theatre architecture. This new idea was based on a democratic vision of the thea-tre, which was founded on the neoclassic architecture. The French vision of the theatre architecture recalled the Teatro Olimpico in Vicenza, designed by Andrea Palladio, and reintroduced many neoclassical (i.e. Greek/Roman) elements like columns, semicircular shape and large balcony instead of boxes. The new French ideas about theatre architecture did not find many followers in Italy. The only scientists that accepted this new concept of a “democratic theatre” were the ar-chitects Earl Enea Arnaldi (Vicenza, 1716-1794) with wrote his Idea di un teatro nelle principali sue parti simile a' teatri antichi all’uso moderno accomodato del conte Enea Arnald” (Vicenza, 1762) and Francesco Milizia (Oria, 1725-1798) who wrote the Del Teatro (Rome, 1773 and Venice, 1794) [1]. Milizia wrote his book after having read the Arnaldi’s work and followed the idea of a semicircular plan of the theatre with columns and other elements. He was therefore in-fluenced by the Teatro Olimpico architecture in Vicenza, and introduced many neoclas-sical elements in his idea of theatre architecture. He proposed the Teatro Ideale that would solve several problems existing in the modern theatre architecture, including acoustic difficulties. In this paper, the Teatro Ideale proposed by Francesco Milizia is acoustically analysed. Starting from the sketches that were provided by Milizia, a numerical model was realized and utilized for simulating the acoustic behavior of the theatre, in the same way as today a new proposed modern theatre is acoustically analysed. The results from the simulation are presented and commented, compared with the acoustic data measured in Teatro Olimpico, and rendered by means of 3D auralisation.

The acoustics of the "Teatro Ideale" by Francesco Milizia (1773)

TRONCHIN, LAMBERTO
2011

Abstract

During the 18th Century several French scientists before Pierre Patte proposed a new idea of theatre architecture. This new idea was based on a democratic vision of the thea-tre, which was founded on the neoclassic architecture. The French vision of the theatre architecture recalled the Teatro Olimpico in Vicenza, designed by Andrea Palladio, and reintroduced many neoclassical (i.e. Greek/Roman) elements like columns, semicircular shape and large balcony instead of boxes. The new French ideas about theatre architecture did not find many followers in Italy. The only scientists that accepted this new concept of a “democratic theatre” were the ar-chitects Earl Enea Arnaldi (Vicenza, 1716-1794) with wrote his Idea di un teatro nelle principali sue parti simile a' teatri antichi all’uso moderno accomodato del conte Enea Arnald” (Vicenza, 1762) and Francesco Milizia (Oria, 1725-1798) who wrote the Del Teatro (Rome, 1773 and Venice, 1794) [1]. Milizia wrote his book after having read the Arnaldi’s work and followed the idea of a semicircular plan of the theatre with columns and other elements. He was therefore in-fluenced by the Teatro Olimpico architecture in Vicenza, and introduced many neoclas-sical elements in his idea of theatre architecture. He proposed the Teatro Ideale that would solve several problems existing in the modern theatre architecture, including acoustic difficulties. In this paper, the Teatro Ideale proposed by Francesco Milizia is acoustically analysed. Starting from the sketches that were provided by Milizia, a numerical model was realized and utilized for simulating the acoustic behavior of the theatre, in the same way as today a new proposed modern theatre is acoustically analysed. The results from the simulation are presented and commented, compared with the acoustic data measured in Teatro Olimpico, and rendered by means of 3D auralisation.
2011
Proceedings of The Acoustics of Ancient Theatres
1
6
L. TRONCHIN
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11585/106381
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