도시 노동자 관객의 확산과 서구 극장 공간의 혁신 -산업혁명에서 페스트슈필하우스까지
The Impact of Working-class Audience on Western Theatre Space: from Industrial Revolution to the Festspielhaus
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Many theatre historians have claimed the importance of the year 1875 as a turning point to modernity in the Western theatre. Related to the significance of the year, the foundation of the Bayreuth Festspielhaus in the following year is remarkable. In other words, considering the context surrounding the innovative moment in theatre, the Festspielhaus may well have a good reason to be regarded as the representation of modern theatre space, at least in terms of infrastructure. Especially, the so-called ‘mystic gulf’ of the Festspielhaus was an epoch-making event in that it validated and valorized, both physically and aesthetically, the possibility of illusionary realism which had been foreshadowed by the introduction of proscenium arch in the Teatro Farnese at Parma in 1618, and in that it at the same time foreshadowed the coming of modern artistic spirit called realism that would dominate theatrical space for a long time henceforth. This paper begins with a simple but intrinsic premise: if we can say that theatre is the outcome of cultural context rather than a spontaneous occasion, the advent of modern theatre should not be an overnight happening. The Festspielhaus was no exception. This playhouse was inevitably the outcome of cultural context and, therefore, there must be the motivation for the foundation of this playhouse as well as for modern theatre. This paper suggests the expansion of urban working-class audience as the ‘possibly’ primary motivation of the establishment of the Festspielhaus. This paper surveys the places of innovation―auditorium, stage, scenic devices, and other convenient facilities―in Euro-American playhouses during the period from 1800 to 1875, and examines the possibility that the innovations were the direct results from the expansion of urban working-class audience and its impact on theatre business in the contemporary time. In addition, by explaining how the said theatrical innovations were finally integrated into the space plan for the Festspielhaus in 1876, this paper argues for the significance that this ‘new’ audience public, that is urban working-class laborers, had as the primary motivation for the innovation or ‘modernism’ in the Western theatre space.
Abstract
Many theatre historians have claimed the importance of the year 1875 as a turning point to modernity in the Western theatre. Related to the significance of the year, the foundation of the Bayreuth Festspielhaus in the following year is remarkable. In other words, considering the context surrounding the innovative moment in theatre, the Festspielhaus may well have a good reason to be regarded as the representation of modern theatre space, at least in terms of infrastructure. Especially, the so-called ‘mystic gulf’ of the Festspielhaus was an epoch-making event in that it validated and valorized, both physically and aesthetically, the possibility of illusionary realism which had been foreshadowed by the introduction of proscenium arch in the Teatro Farnese at Parma in 1618, and in that it at the same time foreshadowed the coming of modern artistic spirit called realism that would dominate theatrical space for a long time henceforth. This paper begins with a simple but intrinsic premise: if we can say that theatre is the outcome of cultural context rather than a spontaneous occasion, the advent of modern theatre should not be an overnight happening. The Festspielhaus was no exception. This playhouse was inevitably the outcome of cultural context and, therefore, there must be the motivation for the foundation of this playhouse as well as for modern theatre. This paper suggests the expansion of urban working-class audience as the ‘possibly’ primary motivation of the establishment of the Festspielhaus. This paper surveys the places of innovation―auditorium, stage, scenic devices, and other convenient facilities―in Euro-American playhouses during the period from 1800 to 1875, and examines the possibility that the innovations were the direct results from the expansion of urban working-class audience and its impact on theatre business in the contemporary time. In addition, by explaining how the said theatrical innovations were finally integrated into the space plan for the Festspielhaus in 1876, this paper argues for the significance that this ‘new’ audience public, that is urban working-class laborers, had as the primary motivation for the innovation or ‘modernism’ in the Western theatre space.
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