New-York tribune., 1896-12-12

knew OF Roman theatres Dr. D0rpfelds SER
vice therefore in divestng this subject of its
Roman encrustations falls into line with all
that brilliant work which, since the beginning
Of the Renaissance but more particularly With
In the last century, has been leading us TO
knowledge of Greek things in their own sources
resurrectng Greek philosophy, medicine, his
tory, grammar and art. and restoring the SIM
plicity of early Christian thought
The Greek and the Roman theatre had
enough points in common so that the tempta-
tion to exoan in terms of the other is
readily accountable Both had amphitheat-
rical seats for the spectators. In both the
space before the lowest tier of seats, and partly
inclosed by them. an orchestra suggesting
the form of circle and opening itself far
enough to admit either the whole circumference
or more than half thereof In both the opening
left between the wings of the amphitheatre
was occupied by the stage building or skenc'
whose facade stood approximately on a line
tangent to the circumference Of the circle just
mentioned In both there were passages Tor
the entrance of the spectators opened AT each
wing of the amphitheatre In both the 1acaoe
Of the skene was decorated with columns or
narrow coumned porch. In describing the pro-
portions Of the two classes of buildings, Nitru-
vius attempted with fair success to reduce them
to common form of mathematical statement
and in naming the differen. parts he uses the
same name for the parts of the two structures
whic. he conceves respectively to correspond.
The differences between the two types OF ar
rangement and construction are, on the other
hand distinct enough to assert clearly the in
dlviduality Of each. In the Roman theatre the
amphitheatre fills just half-crcle in the
Greek 1t exceeds 1t. In the Roman theatre the
side entrances are carried by tunnel under the
seats Of the amphitheatre wirgs: In the Greek
they are uncovered and run between the wings
and the stage building. In the former the or
chestra is q half-circe. or a little more; in the
latter it is essentially a full circle. in the for
mer there is a broad stage only three TO five
feet in height in the latter the structure which
Vitruvius identified as the stage is narrow and
ten to twelve feet in height. In the former the
stage has the length Of two dameters OF the
circle; in the latter the supposed stage Is about
one diameter Ions In the former broad flight
of steps connects the orchestra to the stage:
in the latter there was no regular communca-
ton between the orchestra and the supposed
stage
According to the traditional view the Greek
stage was changed into the Roman by being low
cred and by being pushed forward into the or
chestra as the discontnuance Of the chorus rem
dered the orchestra useless Aside from all the
absurdities mentioned above as involved in the
supposition that the acting took place In the
Greek theatre upon the high structure identified
by Vitruvius the stage, this explanation fails
to provide rational account Of the development
Of the Roman stage out OF its supposed Greek
counterpart II supposes arbitrary and vio-
let lowering Of its level 1t falls to notice that In
the Roman as in the Greek theatre the stage
lcl<a ;c
tangent to the fundamental circle of the
chestra. 1t fails to notice that the columns
which decorated the facade Of the Greek skene
are in the Roman theatre not at the front OF the
stage but back of it end engaged against the
main facade Of the stage building. Nitruviuss
'"scaena irons" 1t fails TO notice that the doors.
which in the Roman theatre open out Of tie
main stage building between the afore-men-
toned columns lead to the leve, of the stage, but
that their counterpart counterparts In the
Greek theatre lead out between the columns on
to the level OF the orchestra. DR.. D0rpfed ex
plains all these things in connection with ra-
tional development in the arrangement OF the
parts that can be traced in its progress from the
Greek theatres Of the fifth and fourth centuries
through the Hellenstic theatres and the earlier
Roman theatres 20 the later Roman type. His
explanation Is ir brief this: The row of columns
which formed in the Roman theatre the back
ground for the stage action. 1. e.. before which
the actors acted. represents with the character
istc rigdty of architectural conservatism the
row Of columns which constituted the decorative
porch at the front of the Greek skene 1t always
/ in Roman as well Greek theatres stood APP
proximatey on the line Of a tangent to the inner
circle of the orchestra In all the history OF
Greek and Roman theatre construction II main
tioIlx
changed as a fixed conventionality. Vitruvius
who was used to seeing the actors In Roman
theatres appear on an elevation. Identified this
porch as the stage On top Of which the action
took place In reality. Dr. D0rpfeld holds. the
! action took place in front Of it and on the level
/ of the orchestra. The actors. therefore. never
/ changed their place at all In the whole course
Of the development Of the theatre. Where they
stood in the Roman theatre they had stood In the
Greek-namey in the sector OF the orchestra
directly before the skene. The Roman stage Is
the historical successor not OF the Greek-coi-
umned porch or proscenum. as Vitruvius
thought, but Of the stageward part Of the Or
chestra itself The part of the orchestra bound
ed by the seats was lowered; that which retained
its old level became thereby the stage
The lowering Of part of the orchestra served
to mako 1t species Of pit for gadiatoriai
and other cOmbats Tne lowering oi thc ie'ei
cut out the lower rows OF seats and provided q
very acceptable barrier between the audience
and the combatants. This method Of procedure
established the architectural type. The same
result, however. was reached If. as in the Diony
sac theatre at Athens raised stage were In
serted into the outer part of the orchestra and
the skene, with its decorative front were built
up at the rear from the stage level. The erect
Of a lowered "konistra' q. e.. the part or the
| orchestra nearer the audience) was ther at
tanned by constructing raised barrier Of exact
ly the height Of the stage around the "konistra'