西方古代剧场建筑中的声学因素(五)——19,20世纪欧洲剧场的演变

Acoustic Elements of Western Ancient Theater Architection Design(Ⅴ)——Evolution of 19th and 20th Century European Theater

叙述了19,20世纪欧洲经济、文化发展的历史背景以及当时欧洲剧场的建筑形式。指出了这个时期的剧场建筑基本属于传统形式,布局大同小异,多以意大利的拉·斯卡拉、凡·尼斯或者英国的考文园英国皇家歌剧院为范本。建筑艺术风格多以巴洛克、洛克克、文艺复兴或新古典主义样式为主。具体介绍了19,20世纪英国伦敦皇家歌剧院、维也纳国家歌剧院、莫斯科大剧院等的规模、布局及其特点,重点介绍了德国拜罗伊特节日剧场,它是世界上第一座打破了曾经统治欧洲剧场建设达两个世纪之久的巴洛克模式的剧场,完全依据瓦格纳的意图进行设计的,重新肯定了希腊古典剧场中的座位排列方式和几何构图原则,并合理地运用到现代有顶盖的室内观众厅里来,既解决了观众厅中的视线问题,同时又改善了声学效果。

The background of European economic and cuhural development in 19th and 20th centuries is described, and the architectural forms of European theater are given. It is pointed out that the theater architecture belongs to the traditional forms in this period, and the layout is similar as the Teatro Alia Scala, Teatre Farnese or the Royal Opera House in Britain. The architectural style is mostly Baroque, Rococo, Neo - classical or Renaissance. The size, layout and characteristics of Royai Opera House in Britain, Wiener Staatsoper and Bolshoi Theatre of Russia in 19th and 20th are introduced. The Bay- reuth Festival Theater in Germany is emphatically introduced. It is the first theater that broke Baroque theater mode ruling European theater architecture for 2 centuries. It is entirely designed as Wager intention, and reaffirms the classical Greek theater seating arrangement and geometric composition principle. It is reasonable used in the modern audience hall with in- door roof, which not only solves the problem of the sight of the audience hall, but also improves the acoustic effect.