2LITERATURE REVIEW AND CASE STUDY

PERFORMING ARTS CENTRE

SAMPADA THAPA MAGAR

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REPORT SUBMITTED TO
INU PRADHAN SALIKE
TRIBHUWA UNIVERSITY
INSTITUTE OF ENGINEERING

DBEPARTMENT OF ARCHITECTURE
PULCHOWK CAMPUS

2017

1. INTRODUCTION
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1.1 ARTS
The arts refer to an outlet of expression that is usually influenced by culture and which in
turn helps to change culture. The arts are the physical manifestation of the internal creative
impulse. Major constituents of the arts include literature (poetry, novels, short stories, epics),
performing arts (music, dance, theatre), culinary arts (baking, chocolatiering, wine making),
media arts (photography, cinematography) and visual arts (drawing, painting, ceramics,
sculpting). The arts are interdisciplinary for e.g. Visual elements combination with
performance (film) and written words (comics). An art can be means of entertainment for
laymen while if educated it may convey a deeper meaning.
1.2 IMPACT OF ARTS
Individual Community
Material/ Cognitive / Interpersonal Economic Cultural Social
Health Psych.
Involvement Direct

Builds Increases sense Builds individual Wages to paid Increases Builds social
interpersonal ties of individual social networks employees sense of capital by
and promotes efficacy and collective getting people
volunteering, self-esteem Enhances ability to identity and involved, by
which improves work with others efficacy connecting
and Arts Audience

Increases Increases Increases tolerance People (esp. Builds People come

opportunities for cultural capital of others tourists/visitors) community together who
enjoyment Enhances spend money on identity and might not
Relieves visuospatial attending the arts pride otherwise come
Organization & Institutions Presence of ArtistsParticipatio

Stress reasoning and on local Leads to into contact

Increases Increases Improves Promotes
individual propensity of community neighborhood
opportunity comm.- unity image and cultural
and members to status diversity
propensity to participate in the Reduces
be involved arts neighborhood
in the arts crime and
Increases delinquency
attractiveness of
area to tourists,
(Guetzkow, 2002) businesses,
Table 1: Impactpeople
of the arts

1.3 PERFORMING ARTS

Performing art uses artists own rhythmic movements, steps and gestures for often to
express a sentiment or mood or illustrate a specific event or daily activities thus differing it
from other art forms. It is created out of the behaviors, emotions, values that are invested in
images and symbols appropriate to a particular social group. Performing arts involves
various disciples from dance, music, theatre, magic, illusions, opera, performance art,

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puppetry, circus, public speaking, recital, etc. which are performed in front of live audiences.
According to Baffe and Peters (2000), performing arts has been classified as
Music (playing music or singing, opera, hyms, raps, etc)
Dancing (ethnic, folk, ice dancing, ballet, etc)
Acting (plays, musicals, mimes, comedy)
Literary (reading poetry, storytelling)
Multimedia or others (music videos, street performances, circuses,etc)

1.4 Performing Arts Centre

Performing arts centre often abbreviated as PAC is a multipurpose space that caters for
various types of performing arts. It is a cluster of performance spaces, usually but not always
under one roof, each possibly designed for a specific purpose such as symphonic music or
chamber music or theatre, but multi-purpose as a whole. Performing arts centre has
undergone many changes in the past years which has been discussed below:
The evolution of performing arts centre
Generation one- Arts Centre as Home
While theatres were built throughout the history from Greek and Roman
amphitheatres to great European opera houses and concert halls, the prototypical
modern performing arts centre, comprised of a complex of several genre-specific
performance spaces- dates only back to 1960s and early 1970s (development of New
Yorks Lincoln Centre, London National Theatre and Sydney Opera House. These first
arts centres brought together the traditional art-makers, producers and sometimes a
public library or art schools (e.g. Lincoln Centre and others), providing a home for the
classical performing arts: the symphony, ballet, opera and occasional theatre company
in a campus like setting for the arts. These centres focused on creating home for
high arts; a place to see and be seen, best described as showcases to the
community largely targeted to the community elite.

Generation two: Arts Centre as Place

The valuable secondary effect- the density of the activity and people (artists, artistic
companies, audiences) resulted into secondary development (or redevelopment) in the
surrounding neighborhood by mid to late 1970s. arts precincts became attractive
places for new commercial developments and renewed investment in restaurants,

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retail, housing, business offices, or other amenities were attracted by art and related
activity. Hence cities around the world recognized that PCA could cause revitalization
of the urban cores at a time when many residents and businesses were leaving for the
suburbs. Planners and community leaders recognized the arts as a key anchor for city
centre vibrancy. This effect was a guiding force in the development of Arts Centre
Melbourne and the entire Melbourne arts precinct as well as redevelopment initiatives
in the US, Europe and Australia that began in the late 1980s and still it continues to
drive the development of new performing arts especially in Asia and South America
in the present context.

Generation three: The Communitys Centre

The third evolution began from early 1990s. previously, communities often used a
new arts centre as a magnet to attract established, touring artists and companies from
out -of-town, too bring culture to their cities and town, because of absence of
complete art systems and needed diversity and credibility to their existing or
emerging local performing arts companies. Along same time some 2nd generation Pac
realized that they have becomes indistinct from one another as they were presenting
same artists and same shows cities to cities. Hence these centres sought to carve out a
broader, more organic role connected to fabric of their community. The became
nexuses of civic activity, interlocutor, incubators, meeting places and centres of
discourse and learning. Their activities became about better community access,
serving more children and families and bringing diverse community together
including development of extensive education programs. Generation 3 centres often
offer school-time performances, master classes, pre- and post-performance
discussions, talent searches, scholarships, summer theatre camps and more. The goal
was to make the PAC more accessible to a broader and more diverse community.

Generation four: Creativity and Innovation

Research by the Urban Institute, a Washington, D.C. think-tank, beginning in the late
1990s and continuing for more than a decade, documented that the concept of
cultural vitality being one of the essential elements in successful communities.
Cultural Vitality refers to a concept that Cultural vitality is the evidence of creating,
disseminating, validating, and supporting arts and culture as a dimension of everyday
life in communities. Cultural vitality comprises of three elements:

1. Facilitating the presence of opportunities for cultural expression

a mix of nonprofit, commercial, public, and informal venues and opportunities
for cultural engagement is essential to create the continuum of participation
that enables robust arts practice and consumption, both amateur and
professional
In addition to conventional cultural venues such as museums, theaters,
and concert halls and permanent facilities such as libraries, community

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centers, and parks, temporary venues and events as festivals, parades,

arts markets, and even farmers markets are important aspects of a
communitys cultural landscape, particularly when these events are
recurrent
nonprofit, public, and commercial; those with large, mid-sized, and small
budgets; those that are concerned primarily with the presentation of
professional artwork; those that are artist-focused and critical to professional
artists careers; those that seek to preserve tangible and intangible history and
culture; those that seek to enable the invention of new forms of artistic and
creative expression; and those that seek to advance and validate both amateur
and professional arts practice.
organizations that are key catalysts for both amateur and professional arts
practice and collaborate with a range of arts and non-arts organizations as part
of their programming are especially important for a communitys cultural
vitality
the design of a space or building that takes into consideration a range of
possible cultural uses will involve attention to public access, pedestrian
traffic, performance area, lighting, acoustics, inclusion of permanent as
well as temporary areas that accommodate a variety of displays, and
opportunities for active as well as audience participation in creative
activities

2. Enabling participation in arts and cultural activity

It is still too often assumed, both inside and outside the professional cultural
sector, that cultural participation means viewing or purchasing professional
arts
People participate in arts and cultural activity in many different ways and at
different skill levelsas practitioners (making and doing work), teachers,
students, critics, supporters, and consumers. People also engage individually
and collectively, sporadically and on a regular basis
arts education (kindergarten through high school) and after-school arts
programs are an important form of participation that leads to future cultural
and other types of civic engagement
audience participation in different kinds of venues
public discourse about arts and cultural practices in newspapers and electronic
media (television, radio, web)

3. Providing support for arts and cultural activity

To get a more complete handle on support for the arts, it is important to
consider resources for arts activity in the commercial sector as well as for
unincorporated arts activity in addition to resources for nonprofit arts.

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This includes direct and indirect support for arts vis--vis tax incentives, small
business loans, and similar inducements for commercial sector involvement, as
well as less formalized donations and investments in unincorporated activities
A high incidence of working artists in a particular place is a strong indicator of
cultural vitality and provides at least some measure of the support available for
key types of artistic endeavors.

The Generation 4 PAC creates public value opportunity by making diverse programs
accessible to diverse audiences. It provides critical support for high quality programs,
enables innovation in the development of content and delivery and provides essential
support to emerging ideas of artistic expression. The Generation 4 PAC must also be
nimble, provide a high level of technical and functional accommodation, look beyond
its traditional performance venues and usual delivery mechanisms to meet its
audiences where they want to engage and be able to take risk to supplement programs
already present in the community. It is a learning environment through which new
experiences are generated and new knowledge is created that enhances cultural
awareness, expression and understanding.

Role of Generation four Arts Centre are:

Host to traditional performing arts
Incubator: enabler of new content and emerging organization, provide
facilities, technical support and management guidance to ensure success.
Educator: recognizes gap in the arts education and collaborates to develop and
offer programs to youth, under served, life-long learners.
Showcase: provide platform for presentation and exhibition of the new, the
different and the traditional.
Advocate/change agent: advocate for change and support as Generation Four
Arts centre is a leader of exploring the evolution of the sector, art forms,
delivery system and audiences.
Innovator: encourage risk and manage exposure by developing leadership
skills, tools, systems and financial resources that support exploration.

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1.5 HISTORY OF PERFORMING ARTS

The drama evolved from rituals of ancient man has been widely accepted. These
rituals contained dramatic elements. The kinds of rituals were initiation (to teach tribes
customs to young boys reaching manhood), war (to kindle bravery in warriors), story (to
imitate events of hunt or battle or to preserve history) and religious (to appease numerous
unseen spirits primitive man felt controlled his world).

The

Roman Theatre
classical period of performing arts began from 6th century Greek era. The forms that started
to evolve was large open air theatres (amphitheatres). These amphitheatres took advantage of
sloping hillsides for their terraces seating. The Greek theatre buildings (theatron) consist of
three important parts: the skene (back stage), the orchestra or a dancing place which was
present at centre. The orchestra was a large circular area about 150 m across. This place was
used for the performance, the choral performance and for religious rituals as well. These
types of theatres were built to cater audiences ranging from 25000 people. Due to heavy
mass of audience for which the dramas were performed, their drama style was melodramatic.
During that period, heavy and shiny costumes were used so that the audience could recognize
the characters from far away. The chorus was sung by at least 50 actors so that the whole
mass could hear it. Then came the Roman theatres which were similar to Greek theatres and

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developed magnificently in keeping with Romes imperial status. However, the Roman
theatres were built upon their own foundations being completely enclosed from all sides.

Greek Theatre

Renaissance Theatre: Ellipse cavea, Scanae Renaissance Theatre: Forced perspective,

frons broken up by several arches raked stage beyond proscenium

In 16th century, there was rise of Shakespearean theatres. It was in this period that
commercial theatre started. The globe theatres were constructed of wooden framings, infilled
with wattle and daub and roofed with thatched. Then throughout the the 18 th century opera
rapidly became entertainment of the choice for aristocracy in most of the Europe and
eventually for la4rge number of people living in the cities and towns throughout Europe.

Popular Theatre (industrial revolution)

Elizabeth Theatre

Platform Stage (Medieval Pageant wagon (Medieval

Stage) Stage)
In 19th century, the growth of performing arts for all social classes started during
which time music halls was unique development. In 20th century there was use of different
technologies to create dramatic effect. Theatre became international in the 20th century.
Rapid modes of communication travel and fostered worldwide touring companies;
cultural exchange of artists, theories, and production; and international publication
of dramatic texts. Numerous Experimental movements of varying duration included
symbolic, expressionism, and theatre of the absurd, epic theatres, documentary

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drama, and environmental production. However, realism remained the most popular
mode of writing and stage in west, and the picture-framed playhouse- enhanced by
lighting, sound, and other technologies-remained the most common style of Theatre
architecture.

1.6 HISTORY OF THEATRE IN NEPAL

Nepal being a country of diverse culture and tradition from east to west and from Himalayas
to Terai, its geo-cultural position is strongly influenced by its linguistic and cultural diversity.
This makes our country vibrant and hence it has been clearly manifested in both visually
tangible and intangible art forms. The country has become theatre itself with rituals, folklores
which in time grew with real experience of the people in their daily lives. Here the
performing arts are a part of heritage in which there is blend of structured forms and the
dynamism of rituals and practices.
Festivals can be considered as the most significant form of Nepalese performing arts.
These are the mass dynamism of people (both spectator and performer). These festivals are
characterized by the participation of the community in the presences of stories and dance in
setting that like any other form of ritual or community plays were attended by members of
the community who lived in an atmosphere of mutual contact and similar cultural practice.
All the spectators of the performance are generated by the performers movement over the
space defined by religio-architecture formation. The journey is choreographed in advance, in
the architecture and landscape pattern that have continued to surprise the viewers even today.
These performances can be gleaned from the architectural patterns of the building, courtyard,
temples plinth and raised platform dabu or dabali. Even palaces were constructed or
modified in such a way that such activities involving a larger audience could be performed
comfortably within palace precincts. The radius of Kathmandus Hanuman Dhoka royal
palace stands as a witness to this fact. Thus, we can say that traditional Kathmandu
architectural patterns were made by peoples performing culture.
The Nepali history of theatre dates back to Kirat period. In this, Knochring (priest)
were in charge of dance and music. According to historian Prachanda Malla, the concept of
raised platform Dabu has its origin in Lichchavi period. Also, the inscription at Naxal
mentions compound Prekshan Mandapi or platform of performance.
In Medieval period, the Malla kings not only promoted performing arts but also gave
rise to new forms of performing arts such as navadurga and narsimha dances. Trusts were
established by rulers like Siddhi Narshingha Malla and Rai Malla. The Malla rulers rather
than sit back as spectators they took part in most of the performances, appearing either in a
role of king or as a representative of a god. Pratap Malla, who ruled the valley from 1641 to
1674, for example, played the role of Narsimha. Religious and tantric customs, in the form of
dance-dramas, took center stage of the evolving theater traditions in Nepal after the Malla
kings came to power in 1200 AD. These would take place in a raised platform called

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Dabali. These Dabalis and Mandapa continued to be main location for public
entertainment.
Later Ranas replaced Dabalis with imitation of theatrical traditions of Royal Indian
courts and western style. The Ranas and their acquaintances began to enjoy Nepali, Hindi
and Urdu plays. Rangakarmis (artists) were kept on a payroll and were frequently hired to
perform to entertain the autocrats, their family and guests. Only female rangakarmis were
hired, as the rulers were wary of any possibility of brewing immoral liaisons inside the
palace with the presence of male rangakarmis. So, inside the palace it was an all-woman
show with women masquerading as men to play the male characters. The gender sensitivity
in the theaters outside the palace gave rise to an exactly opposite trend, in the form of all
male shows, where the men played roles of women. The Natyashala, a hall for performing
plays and dance, was built inside the Singha Durbar in 1930s. The Natyashala (Dance House)
had a proper seating arrangement for the audience and a balcony large enough to
accommodate the family and relatives of the Ranas. These theaters experimented with
multimedia; i.e., visual and audio effects, though in a non-technical way. For example,
heavy stones were rolled from upstairs down to the empty space right underneath the stage to
create the sounds of thunder or of war. Similarly, multiple curtains painted with the scenes
depicting the story set-up were also used.
In 1940s Nepal got driven into modern form. With involvement of dramatist Bal
Krishna Sama plays were written and played in secular theme by directors like Hari Prasad
Rimal and Gopi Nath Rimal. In 1950s Juddha Shumsher built Jana Sewa for public. In 1960s
government of Nepal began to support to the contemporary theatre. In 1990s, the popularity
of cinemas and invasion of television pushed live theatre to the cultural background. In this
way, Nepalese historical background of theatre and performances are confined within valley
only.
In Nepal history of performing Art started from
Malla period. King Pratap Malla played drama in Nasal
Chowk of Hanumandhoka. Performances used to take place
in open elevated squares. After the democracy, there was
proper development of performing arts. Bal Krishna Sama,
father of modern Nepalese drama wrote famous dramas like
Prempinda, Mutu ko betha etc. Later on, Rastriya Nach
Ghar, City Hall, Royal Nepal Academy were constructed for
the development of the drama. Fig. Newari Acoustic

Nepali theatre has thus three very distinct lines:

One is the rich heritage of performance that blends rituals, festivals and dance-
dramas, especially in the performances in the Kathmandu valley. Use of mask is very
important in such theatres. Mask helps to transcend the limitation of times, and
invoke the power of the space that was there in earlier times. For example, a dramatic

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performance with mask, song and drums creates the ambience of the all-time real
myth and the visible space becomes the stage for such performance.
The heritage of Nepali folk theatre is very old. People living in different geographical
terrain, from an altitude of sixteen thousand to two thousand feet above the sea level
have given rise to diverse folk traditions and theatrical forms.
The movement of the people from the country to the urban area has a unique
theatrical value. As mentioned by Portoghesi in his book, the architectural patterns
follow the patterns of life and living styles. The theatrical spaces of the Kathmandu
architectural patterns are made by people's performance culture. A free movement of
the people their culture helped to the design the frontality of the Newari houses and
different interaction spaces and building of the Kathmandu valley. There is a unique
relationship between the frontality of the theatre and spectators' participation. Free
movements of the people within and without the frontality of the architectural
locations is the main feature of the performance culture in Kathmandu.
The present scenario of Nepali theatre is characterized by one the one hand by
experiments with the new forms and on the other by preservation of the culturally significant
heritage of theatre. Closed space in being giving more emphasizes as performing space as
development of new technology even though use of traditional space like dabu, chautari, pati
and street also exist there.

Dabali
Dabali or Dabu id most pronounced form of theatre in Kathmandu. It is a raised platform in a
courtyard or open place which is used for cultural and religious performances and other
rituals. It has been a cultural node for open air public performances in newarii community.
Dabalis are usually attached to a built space (temple) and open in three remaining sides.
These spaces incorporate public interaction and association factors in an open space
composition making the ambience more vibrant. Generally square or rectangular in shape
these places were used for cultural, political and social programs where large crowd could
gather but recently Dabali has been used for market place and gathering space as well.

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1.7 TYPES AND THE FORM OF THEATRE

The scale of a theatre depends on the size of the staging required by the type of performance
and the number of audience to be accommodated, with each variable influencing the other as
they change. A theatre is not simply a space for looking at or listening to a performance. A
successful theatre for live performance supports the emotional exchange between the
performer and the audience, and between members of the audience.

Space for Drama

Drama comedy or tragedy can be performed in many different types of theatres, as well as
outdoors, in warehouses, stairwells, and other unusual places. Many of these spaces and
forms also support musical theatre, which comes under Spaces for entertainment. For
simplicity, drama spaces are categorized into smaller drama theatres, which include flexible
and courtyard theatres and larger drama theatres, which include thrust, open, and proscenium
stages.
Smaller drama theatres
A small drama theatre usually seats between 50 and 300. It often doesnt have a separate
stage house; the stage is within the same architectural space as the audience. These small
theatres often feature a unique or especially intimate actor/audience relationship. This may
be defined by a fixed seating arrangement, or the relationship may be created by temporary
seating set up in a found space or in a flexible, purpose-built space.
a. Arena
A theatre in which the audience completely surrounds the stage or playing area. The stage
itself is in this arrangement is typically round, square or triangular, and actors entrances and
exit to the playing area are provided through gaps in the seating arrangement or below the
stage. Such space is usually configured with the stage on an even level or lowered below the
audience in pit or arena formation. The configuration lends itself to high energy
productions and is favored by classical theatre.
Theatre-in-round was common in ancient theatre, particularly that of Greece and
Rome but was not widely explored again until latter half of 20 th century. This form of
economical seating maximizes audiences in minimum enclosure. However even with 1000

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seats, the most distant members of audiences should not be more than 32 ft. from nearest part
of stage. It is very suitable performances such as circus, dance, fashion shows, wrestling, etc.
However, given that the audience across the acting area is no part of the performance
is a negative factor to the degree that it is distracting. The actors all the time have their back
facing some members of the audience. Hence, it is necessary to maintain pitch of the seating
arena. It is also not suitable for music performances for listeners sitting behind the orchestra
due to poor instrumental balance. Orchestra members also face poor on-stage
communication. However, it also allows realistic staging. The configuration is also applied
when theatrical performances are presented in restaurants, public areas such as fairs and
festivals, or street theatres. Special consideration has to be taken in set design so as to not
obscure any audiences view of the performance.

Arena

b. Thrust
A theatre in which the stage is extended so that the audience surrounds it on three sides. The
thrust stage may be backed by an enclosed proscenium stage, providing a place for
background scenery, but audience views into the proscenium opening are usually limited.
Actor entrances are usually provided to the front of the thrust through gaps in the seating or
is connected to backstage area by its upstage end. A thrust has advantage of greater intimacy
between audience and performer than proscenium, while retaining the utility of backstage.

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Thrust(apron) stage Thrust Stage with
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As in arena, the audience in thrust may view the stage from three or more sides. If a
performance employs the fourth wall, that imaginary wall must be maintained in multiple
sides. Because the audience can view the performance in various perspectives, it is usual for
the blocking, props and scenery to receive thorough consideration to ensure that no
perspective is blocked from view. A high-backed chair, for instance, when placed stage right,
could create a blind spot in stage left action.

c. End stage
A theatre in which the audience seating and stage occupy the same architectural space, with
the stage at one end and the audience seated in front facing the stage. It is open and therefore
is more flexible than proscenium arch theatres. The seats are raked up. The modern theatres
and school theatres are often end or a mix of this and proscenium arch. These are popular
theatres and take a wide variety of production mostly play text.

End Stage

Flexible theatres
Flexible theatre is a generic term for a theatre in which the playing space and audience
seating can be configured as desired for each production. Often, the theatre can be configured
into the arena, thrust, and end stage forms as described above. Environmental, promenade,
black box, and studio theatre are other terms for this type of space, suggesting particular
features or qualities.
a. Environmental theatre

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A found space in which the architecture of the space is intrinsic to the

performance, or a theatre space that is transformed into a complete
environment for the performance. The audience space and performance
space are sometimes intermingled, and the action may be single-focus
or multiple-focus. In environmental theatre, the physical space is an
essential part of the performance.
Environmental Theatre

b. Promenade theatre
A theatre without fixed seating in the main part of the auditorium, this
allows the standing audience to intermingle with the performance and
to follow the focal point of the action to different parts of the room.
Multiple-focus action and a moving audience are the primary
characteristics of the promenade theatre.
Promenade Theatre

c. Black box theatre

A flexible theatre usually without character, a void space
that may indeed be black, but isnt always. Usually,
audience seating is on the main floor, with no audience
galleries, though a technical gallery may be provided.

d. Studio theatre
A flexible theatre with one or more audience galleries on
three or four sides of a rectangular room. The main floor can usually be reconfigured into
arena, thrust, end stage, and flat floor configurations. The Black Box Theatre
room usually has some architectural character.

e. Courtyard theatre
The term courtyard theatre embraces a range of theatre
forms, all with the common characteristic of at least one
raised seating gallery surrounding a central area. Often this
central area is flexible, and can be configured into arena,
thrust, end stage, and flat floor configurations. Sometimes
the central area has fixed seating that faces a proscenium
opening and stage. Inspired by the Shakespearean theatre of
Elizabethan times and the English Georgian Theatre, the

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much-loved Cottesloe Theatre at the National Theatre in London is the granddaddy of

contemporary courtyard theatres. Interestingly, a courtyard theatre does not need to be
rectangular. Hall Two at The Sage is a striking example of a 16-sided courtyard theatre.

Courtyard Theatre
Larger drama theatres
Larger drama theatres seat audiences in the range of 300 to 900, with an upper limit of about
1,100. Larger drama theatres are usually some variant of the proscenium form. However,
some feature a thrust or open stage.
a. Proscenium theatre
In a proscenium theatre, the stage is located at one end of the auditorium and is physically
separated from the audience space by a proscenium wall. This is sometimes called a two-
box arrangement the auditorium and stage occupy two separate boxes or rooms. The
stage box (stage house) provides fly space and wings and permits a wide variety of scenic
and lighting effects. The auditorium box is the audience chamber, which may take many
formsfan-shaped, courtyard, lyric, etc.
The opening between the auditorium and stage is called the proscenium frame,
proscenium opening, proscenium arch, or simply the proscenium. In its earliest forms, the
heart of the proscenium theatre was the forestage in front of the proscenium. It wasnt until
the middle part of the nineteenth century that performers were confined with the scenery
behind the proscenium arch. Contemporary proscenium theatres try to provide a flexible
transition zone between stage and audience, adaptable to suit the needs of each performance.
The phrase breaking the proscenium refers to when the actors addresses the
audience directly as a part of dramatic production. This term also refers to when the member
of the cast or crew walks onto the stage and into the house when there is the audience inside.
It affords maximum confrontation of performers and audience and is best for lectures,
concert singers, recitation and drama presentation. it establishes a limited orientation of
performers to audience. The audience being in one compact group with narrow horizontal
angle, the performers can relate their action to the whole audience simultaneously. It creates
a limited pictorial frame. Scenery can be applied in composition and the dramatic actions
performed are maximally perceptible.

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Proscenium Theatre
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It is the form most conductive to the productive to the total uniform effects. It is
limited in seating capacity because the principal direction of expansion is away from the
performance, good seeing becomes limitation for expansion. In essence it is not an intimate
theatre shape, since the audience and the actors are each in separate.
b. Thrust and open stage
Some larger drama theatres take the form of a thrust stage, with the audience surrounding
three sides of the performance platform. The term open stage can be used interchangeably
with thrust, but implies a more frontal arrangement. These and similar forms can
accommodate a high seat count within an acceptable distance to the stage. Audience
balconies can increase the intimacy of the room.

Thrust and Open Stage

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Spaces for acoustic (unamplified) music

Concert and recital halls are theatres for the performance of music. The requirements of
acoustic (non-amplified) music determine the volume, shape, and even the architectural
detailing of the hall. At the same time, the hall must support the visual presentation of the
performance and provide an intimate patron experience. A universal characteristic of these
buildings is that performers and audience share the same spacethere is no architectural
separation between stage and auditorium. Today, concert halls arent used exclusively for
acoustic music. A new hall must have enough flexibility to allow other uses, like popular
(amplified) and ethnic music, dance, lectures, meetings, and film presentations.
a. Recital hall
A space designed for soloists and small ensembles (up to chamber
orchestra size), with a seat count typically in the range of 150 to 800.
This form is a descendant of the court music rooms of the Renaissance.
It is often rectangular in plan, with an open concert platform at one end
of the room and seating galleries on the other three walls.

b. Concert hall
A space designed primarily for symphonic music, with a seat count typically in the range of
1,100 to 2,000. The upper limit for a successfully intimate room is about 2,200 seats.
Shoebox concert hall
The classic concert hall form is the shoebox, named after the
rectangular shape and approximate proportions of a tennis-shoe
box. The shoebox form has high volume, limited width, and
multiple audience levels, usually with relatively narrow side
seating ledges.
Vineyard concert hall
Shoebox Concert Hall

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Some modern concert halls have audience seating in terraces

reminiscent of a vineyard. The seating may completely or
partially encircle the concert platform. An important early
example of the vineyard form is the Berlin Philharmonie. A
hall with partial encirclement may be called a modified
vineyard. The Walt Disney Concert Hall in Los Angeles is a
contemporary example of this form.
Vineyard Concert Hall

Spaces for dance

Smaller, 100 to 300-seat spaces designed for dance are usually end stage or proscenium. The
design of the auditorium emphasizes frontal sightlines and a clear view of the stage floor.
Sometimes the seating is on telescopic risers that can be retracted to allow the whole space to
be used for rehearsal or instruction.

Spaces for multiple uses

Almost every theatre will be put to many uses, but here we discuss two particular types of
multiuse theatres, the multipurpose theatre and the multiform theatre.
a. Multipurpose theatre
The contemporary multipurpose theatre is designed to
accommodate a range of activitysymphonic music, opera,
musical theatre, ballet, and touring productions. Seat count is in
the range of 1,200 to 2,400 with an upper limit of about 2,800
seats. The auditorium form is heavily influenced by the acoustic
requirements for symphony, while the stage house is designed to
meet the needs of opera and musicals. These rooms are designed
with the ability to change configurations (especially in the
forestage area) and to adjust the room acoustics to the needs of Multipurpose Theatre
each performance type.
b. Multiform theatre:
A multiform theatre can be reconfigured to change the actor-audience relationship and the
seat count. By moving large architectural elements, the one-room form of the concert hall
can be transformed into a two-room theatrean auditorium and stage with a proscenium.
Side wall seating towers can be positioned to narrow the room, or otherwise change its

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proportion. Often the orchestra (stalls) floor can be

leveled and the seats removed to create a large,
flexible flat floor area. (Many of the theatre forms
described here can be designed with this flat floor
capability. It was a common feature of eighteenth
and nineteenth century opera houses.

Multiform Theatre

Spaces for entertainment

Venues for popular entertainment can take many forms. It can be mainly classified into two
categories. They are the multiuse commercial theatre and the showroom.

a. Multiuse commercial theatre - a Broadway theatre form

This is a proscenium theatre designed primarily for amplified sound. The room acoustics are
usually dry with little adjustment available, making these
rooms unsuitable for un-amplified acoustic music. Seat count is
in the range of 1,200 to 2,500 seats with an upper limit of 10,000
seats. A reasonable degree of intimacy can be achieved with
multiple cantilevered balconies, bringing a large portion of the
audience as close to the stage as possible. The stage is usually
sized and equipped to receive large scale touring musicals. Other
uses are headliners, pop music performances, and award
Multiuse Commercial
ceremonies. Theatre
b. Showroom
The term showroom usually implies an entertainment venue
connected with a casino, hotel, or resort. A showroom may be
designed to accommodate variety or headliner acts, or it may
be purpose-built for a specific production, such as a circus
show, that will reside in the space for years or even decades. A
smaller room may seat only 600, but seat count is more often
in the range of 1,200 to 4,000 seats. The theatre may take the
form of a proscenium, thrust, or arena stage. Showrooms may
introduce elaborate stage machinery, including water stages
and other specialty mechanics. Showroom

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Amphitheatre
Originally Greek, later adapted slightly by Romans is
still occasionally reproduced. They were built on huge scale in
Greek with 20,000 seats and is still in use. The term originated
to describe a Roman open-aired building with tiered seats,
generally oval in shape used for staging gladiator contests,
wild beast shows, or mock sea battles.
Amphitheatre are appropriate for large scale
productions. There is an awesome grandeur about such theatres
which could match the chosen production. The plays full of Amphitheatre
ceremony and movement would be suitable for Amphitheatre
rather than the ones that require intimacy and naturalistic quality.

Study of space within a Theatre School

Appropriate space, shape and size of the interior as well as exterior environment are required
to be clarified before functioning of the theatre school. Spaces cant be designed as in a
general learning institution so each specified space has to be positioned carefully. Size of the
spaces will depend upon the number of students and the teacher involved.
Teaching Areas
Drama studio
Drama studio is required for teaching acting skills and techniques and sometimes also used
for rehearsing plays. The clear play area of 100m3 is required. There should be some space
for the seating arrangement as well. The studio should be flexible in nature which means
arrangements of learning space and seating space can be changed according to the
requirement of the performance.
Dance studio
The floor of the dance studio shouldnt be slippery and should not be too hard. It should have
wall mirrors of minimum 2m high along at least one wall. The mirrors should have a drapery
controlled by chord pull. Ballet bars should be installed on wall of the room at ascending
heights of 1m, 1,15m and 1.2m. The walls and ceilings should be treated acoustically and
provision of movable sound system is desirable.
Music studio
In music studio students are taught vocal lessons. A provision for piano is desirable to teach
the students tunes of different instruments. For teaching classical tunes basically a bare room
with raised platform for the teacher to sot and play harmonium and space for students to sit

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around is required and a sound system being a must. Marker boards and seating
arrangements with desk and chair for individual vocal practice should be done for teaching
music theory. Store room for storing musical instruments, room for vocal practice with
provision for sound system is required. Acoustical treatment should be done in all rooms.
Movement and Yoga Studio
In this studio students are taught the different western and eastern postures which are
important for the theatre artists. Yoga assists in healing holistically at physical, emotional and
spiritual levels. Generally, a peaceful environment with fresh air and connection with nature
is required for the teaching of yoga and movement.
Workshop areas
Workshop areas for wardrobe for teaching and preparing costumes for students as well as for
the drama production, scenic workshop, prop studio (Art and Craft studio), Lighting Studio,
Makeup studio, etc. should be provided of appropriate sizes.

CASE STUDIES
1. Rastriya Nach Ghar
General Information
Selection Criteria: National level building of Nepal and study auditorium requirements
Location: Jamal, Kathmandu
Orientation: East
Site context: commercial zone
Capacity: 750
Front part: Commercial
Inner Part: Theatre
Basement- parking, electrical, mechanical room
GF- Shopping and green space
1F- Hall & Foyer
2F- Balcony hall & office
3F- Office
Top floor- technical space (above ceiling)

Planning
Auditorium away from noisy road
Foyer as buffer Space

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Construction technology: frame structure, cavity wall & multilayer roof with
metal truss
Arch style: Neo traditional, Exposed Brick, slope roof tile
Material Brick, Tile, RCC, CGI sheet, Parquet, Vinyl tile, Velvet curtain,
bamboo ply, teak ply, planks, acoustic ceiling, POP

Space organization in theatre

3 Parts
Entrance, ticket counter, foyer etc
Auditorium
Stage: Front stage, back stage, wings, green room, rehearsal room

Other Spaces
Technical space
Projection room
WC
Stair, ramp, lift
Open courtyard (Dabali)
Gallery

Circulation in theatre
Pedestrian entrance, Vehicle entrance, VIP entrance
Ticket Counter in entrance
Exit directly to open air & fire Escape metal stair from Hall
Foyer with WC, smoking area, waiting seats etc.

Acoustic design for auditorium hall

Shape & Size

Main Hall with 600 seats
Balcony with 150 seats
Approx maximum length is 24m with Orchestra pit
The shape is such that view and audibility is better
Cyclorama- flex Screen on the back of stage
Projection room back of balcony
The length of the hall = 24m approx.
The breadth of the hall = 19m
The height of the hall =10.82m
The shape of hall is fan shape <100 degree
The size of hall= 0.5 sq. m/ Audience & Volume per person= 4.5 m3/person
Ventilation= 5m3 /person

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Stage
The stage has parquet flooring. The splays of the proscenium reflect sound to the audience.
The scenery and backdrops also contribute to conditions for good hearing. The curtains used
in the stage are of velvet which is a good sound absorber.

Area of the proscenium = 6m x 9m at the height of 0.9m

Height of the proscenium = 6m

Seating Arrangement
Concave Shape
Seating Concentric Circle, first row of seat from stage 5.8m
Stage is raised 1.8m from floor level
The rise of level between seats is 15cm
Inclination of seat is 11 degree
Materials used in the seats are velvet and timber which act as good sound absorber
thus even if the hall is not fully seated by audience the acoustics of the hall is still
maintained. The floors are provided with PVC.
The seating has been raked (a total of 14 steps from the lowest seating level to the
highest seating level) to provide good sight line as well as a good sound line.

Finishes
a. Wall
The side of the hall is parallel in front and rear. The wall of hall is made of
cavity with use of wooden panels & acoustical material. The hall has 460
mm brick wall with 60mm cavity. The construction of the wall consists of
multilayer construction of inner shear wall, cavity in between and external
brick wall.

b. Ceiling
Specially designed sound absorbing materials like suspended acoustical tiles
in particular are used in the ceiling. The tiles act both as sound absorbers and sound reducing
barriers. These tiles are random perforated cellulose fiber tiles and are prefabricated,
factory finished materials. False ceiling near the proscenium is reflective to reflect stage
sound to rear the part of hall. Rear portion of ceiling is treated with sound absorbing
materials to control audience noise and reverberation. All the Technical space is housed
above the ceiling.

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c. Furniture
Furniture is of wooden and seats are upholstered in leather which
acts as a good sound absorbent.

d. Doors
Instead of simple flush doors, special types of doors are provided
for sound insulation. Since sound insulation and transmission loss
of doors increase with weights, heavy doors have been used which have a thickness of about
100mm.
The total no of doors = 6

Sound Reinforcement
The loud speakers are placed on the both sides of the proscenium and also on the side walls
at a suitable height to facilitate the balcony audience as well. Control mechanisms have been
used in from the sound control room at the rear of the hall to maintain the quality of
amplified sound.

Roof
The main structural component supporting the roof is the steel trusses and the corrugated
sheeting has been used for the covering. To prevent the noise produced on the corrugated
sheet due to rain jhingati tiles has been used on the roofing and also plywood planks below
the sheets. Again, acoustical tile has been used on the visible portion of the ceiling which
also gives better aesthetic looks to the ceiling, thus concealing all the mechanical and service
cables and ducts.

Wall acoustics
The electrical and mechanical room is located in the basement of the building. The service
cables and ducts on the upper part of the auditorium i.e. the catwalk is insulated by the
mineral fiber board.

Back Stage
Green Room- ladies & Gents
Make up rooms with wash room
And changing room with wardrobe
Rehearsal room

INFERENCES
Basements can be used as a parking space in commercial areas and can be possible to
generate financial support to an extent.
If ramps are not provided provision of lifts should be made for differently abled
people
Lobbies can be used as a buffer space to control the external noise.

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2. Mandala theatre

General information
Selection criteria: Study of Black box theatre spaces
Location: Anamnagar, Kathmandu
Orientation: East
Site context: commercial zone
Activities: Performing dramas and plays
Capacity: 130

Auditorium Specification
Stage level is same level of audience
Size of black box: 22-0 X 12-0
Depth of stage: 26-0
Green room, costume rooms, meeting room, staff room located above the stage
Audience entry from rear of the theatre and actors from backstage, 2 exits from side
as well as rear part of the theatre.

Inference
Tight lobby space area, open
Narrow back stage
Insufficient space for green room
Lack of circulation for actors
Lack of acoustical treatments, sounds of exhaust fans during the play

3. KL performing arts centre

General information
Selection criteria: Study spaces for art centre
Location: Kualalumpur, Malaysia
Site: 14,043m2
Ground floor area: 3,355m2
Total floor area: 7,614m2
Programme: housed within a former British colonial brickwork structure with a four
storey contemporary glazed extension. Structural and material integrity
were central to the design concept, so the new intervention is distinct
from the old. The centre contains two theatres, a film studio, rehearsal
and training spaces, cafes and all administrative support and comprises

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the only independent democratic performing and learning environment

in the country.

The four main areas of the Kuala Lumpur Performing Arts Centre are:

Pentas 1 (a Proscenium Theater): 504 seats

Pentas 2 (a Black Box Theater): 192 seats depending on configuration
Indicine (A film screening room): 100 seats
Academy: 9 Studios for rehearsals and training

Inference
Rather than expressing a singular Malaysian identity, the design is deliberately neutral
to allow the performances within to reflect the pluralistic society.
All materials were locally sourced and local tradesmen were employed.

4. National centre for performing arts (NCPA), Mumbai, India

General information
Site Area: 32000 Sq. M.
Capacity: 1109
Site context: Commercial area surrounded by hotel, malls, offices
proposed by the late Dr. Jamshed Bhabha as a supporter to be an upholder of the arts
and culture in Mumbai and India. The first, the TATA Theatre, though stated to have
conceptual influences from Welton Becket and Phillip Johnson wax essentially
designed, detailed and executed by Rustom Patell, of Patell Batliwal & Associates.
The facility thereafter grew to have numerous theatres, the second large multi-purpose
facility being the Jamshed Bhabha Theatre. Designed by RBJ Patell the theatre was
substantially built when an electrical short circuit raised the inside beyond repair.

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The stair itself is a folly and a piece of art rather than being utilitarian and wax
removed and re-located with diligent documentation during removal and re-
construction.
This theatre follows a more pragmatic shoe-box concept with a somewhat steep yet
regular rake for the seating.
Colors and material received the close eye of Dr. Bhabha himself.
Acoustics saw the influencing ideas of the late Burjor Mistry, a well-recognized
acoustician in Indian circles.

Site and neighborhood

Entrance through 6 gates and the
site is divided into 6 major blocks
Parking space, A.C. plants, staff
quarters and electric substation are
within site

5 theatres
Tata theatre: 1010 seats
Jamshed Bhabha Theatre: 1109
seats
Godrej Dance theatre: 185
Little Dance Theatre: 114
Experimental Theatre: 300 movable
seats

Other facilities are OAT, gardens, Caf, library and teaching and research Centre.

Jamshed Bhabha Theatre

Inference
Site are located nearby the waterbodies like river or pond
Proper planning and use of the finishing materials are also an essential part
Within a space multiple theatre and studios

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