A luz na gênese do espetáculo
Caderno de imagens
Este capítulo é longo, por isso está dividido em 5 partes.
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73. “[…] Things that loue night, | Loue not such nights as these: The
wrathfull Skies | Gallow the very wanderers of the darke | And make them keepe their Caues: Since I was man, | such sheets of Fire, such bursts of horrid Thunder, | Such groanes of roaring Winde, and Raine, I neuer | Remember to haue heard. Mans Nature cannot carry | Th’ affliction, nor the feare.”
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74. “[…] in such a night, | To shut me out? Poure on, I will endure: |
In such a night as this? O Regan, Gonerill, […].”
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75. “[..] This tempest will not giue me leaue to ponder | On things
would hurt me more, […].”
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76. “[…] Poore naked wretches, where so ere you are | That bide
the pelting of this pittilesse storme, | How shall your House-lesse heads, and vnfed sides, | Your lop’d, and window’d raggednesse defend you | From seasons such as these? […].”
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77. “[…] Blisse thy fiue Wits, Toms a cold. O do, de, do, de, do, de, |
blisse thee from Whirle-Windes, Starre blasting, and ta- | king, do poore Tom some charitie, whom the foule Fiend | vexes.”
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78. “This cold night will turne vs all to Fooles, and | Madmen.”
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79. “Enter Gloucester, with a Torch. | Prythee Nunckle be contented,
’tis a naughtie | night to swimme in. Now a little fire in a wilde Field, | were like an old Letchers heart, a small spark, all the rest | on’s body, cold: Looke, heere comes a walking fire.”
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80. “Glou. What, hath your Grace no better company? | Edg. The
Prince of Darkenesse is a Gentleman. Modo | he’s call’d, and Mahu. | Glou. Our flesh and blood, my Lord, is growne so | vilde, that it doth hate what gets it. | Edg. Poore Tom’s a cold. | Glou. Go in with me; my duty cannot suffer | T’obey in all your daughters hard commands: | Though their Iniunction be to barre my doores, | And let this Tyrannous night take hold vpon you, | Yet haue I ventured to come seeke you out, | And bring you where both fire, and food is ready. | Lear. First let me talke with this Philosopher, | What is the cause of Thunder?”
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81. “[…] true to tell thee, | The greefe hath craz’d my wits. What a
night’s this?”
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Um presumível ponto de partida
1. “We are not always sure whether he speaks of the theater of the
Hellenistic or Periclean era, though his reference to the raised stage would indeed indicate that he is discussing the features of Hellenistic Theatre.”
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2. “But it is to his literary works that Juba is indebted for his chief
reputation. He appears to have re tained on the throne the habits of study which he had acquired in early life; and in the number and variety of his writings he might vie with many professed grammarians. His works are continually cited by Pliny (H. N. v. viii. x. xii. xiii. e passim), who regards his authority with the utmost deference […]. He appears indeed to have laboured in almost every branch of literature; some of his works being purely grammatical or antiquarian, while others comprise a wide field of history, geography, natural history, and the fine arts.”
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3. “As a result of this plan with three centers, the Greeks have a
roomier orchestra, and a ‘scaena’ set further back, as well as a stage of less depth. They call this the λογεἱον for the reason that
there the tragic and comic actors perform on the stage, while other artists give their performances in the entire orchestra; hence, from this fact they are given in Greek the distinct names ‘Scenic’ and ‘Thymelic’. The height of this ‘logeum’ ought to be not less than ten feet nor more than twelve.”
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4. “In dealing with the story of stage lighting, it is necessary to
distinguish between the artificial illumination of the theatre and the use of lights on the stage. […] In all periods candles, torches, lamps, and lanterns have been used as stage properties to indicate night and darkness.”
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5. “Tragedy, then, is a process of imitating an action […]; enacted
by the persons themselves and not presented through narrative.”
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6. “Now first of all, since they perform the imitation through action
(by acting it) the adornment of their visual appearance will perforce constitute some part of the making of tragedy; and song– composition and verbal expression also, for those are the media in which they perform the imitation.”
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7. Professora da Universidade do Quebéc.
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8. “[…] Then she stood up from her seat and strolled | across the
room, moving delicately | on her pale feet, delighted with the gifts, | with a great many glances to inspect | the straightness of the dress against her legs. | But then it happened – a horrific sight. | […] She changed colour, staggered back and sideways, | trembling, then fell into her chair again, | almost collapsing on the floor. | […] the white spit foaming in her mouth, her eyes | bulging from their sockets, and her pale skin | quite drained of blood. | […] She was suffering a double agony – | around her head the golden diadem | shot out amazing molten streams of fire | burning everything, and the fine woven robe, | your children’s gift, consumed the poor girl’s flesh. | She jumped up from the chair and ran away, | all of her on fire, tossing her head,
her hair, | this way and that, trying to shake off | her golden crown – but it was fixed in place, | and when she shook her hair, the fire blazed | twice as high. Then she fell down on the ground, | overcome by the disaster. No one | could recognize her, except her father. | Her eyes had lost their clear expression, | her face had changed. And there was blood | on top her head, dripping down, mixed with fire. | The flesh was peeling from her bones, chewed off | by the poison’s secret jaws, […]. | An appalling sight!”
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9. Uma bota. Sua distinção essencial era a sua altura, alcançando
o meio da perna, de modo a envolver a panturrilha, às vezes chegando até os joelhos. Foi usada principalmente pelos cavaleiros, caçadores, e por homens de posição e autoridade. Os atores da tragédia ateniense assumiram o uso de um coturno com solas muito espessas, como um dos métodos adotados para ampliar sua figura. (VIRGÍLILO; HORÁCIO apud SMITH, 1870, p. 336)
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10. “Now it is possible for the fearful or pathetic effect to come from
the actors’ appearance, but it is also possible for it to arise from the very structure of the events, and this is closer to the mark and characteristic of a better poet. Namely, the plot must be so structured, even without benefit of any visual effect, that the one that the one / who is hearing the events unroll shudders with fear and feels pity at what happens: which is what one would experience on hearing the plot of the Oedipus. To set out to achieve this by the means of the masks and costumes is less artistic, and requires technical support in the staging.”
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11. “The lightning-tower and thunder were, the former a high
periaktos, and the other backwards under the skené, bags full of pebble-stones poured into a brazen vessel.”
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12. Sem ligação com o fisicalismo de Rudolf Carnap (1891-1970), e
sua incursão no positivismo lógico, “[…] teoria segundo a qual os diversos campos do conhecimento, inclusive as chamadas
ciências humanas, devem elevar a física à condição de um paradigma científico universal, supondo que todos os aspectos da realidade, inclusive estados mentais e afetivos, somente adquirem plena compreensibilidade e concretude se analisados como realidades físicas”. (HOUAISS, 2009)
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Música e drama: cúmplices sob a
mesma luz
1. As academias renascentistas seguiam uma tradição que se
iniciou na Grécia, provavelmente a partir da atividade de Platão, quando ele reunia discípulos, seguidores, para a apresentação dos seus princípios filosóficos, nos arredores de Atenas, no jardim público, denominado Academia, cujo nome pode ter sido originado de Hecademus ou Academus, que teria doado o jardim aos cidadãos para a prática da ginástica.
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2. “A dramatic composition, intended to be represented on the
stage, in which vocal and instrumental music plays an essential part.”
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3. Maestro que estudou na Julliard School, em Nova York, autor
de mais de uma centena de livros sobre a ópera.
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4. Opera, plural de opus, em latim, significa obras.
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5. “Opera is a formal theatrical medium that express its dramatic
essence by integrating its words and action with music. Like drama, opera embraces the entire spectrum of theatrical elements: dialogue, acting costumes, scenery, and action, […].”
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6. Do termo grego polyphōnos: poly, muitos e phōnē, voz. Uma
textura musical caracterizada pela presença de diversas vozes melódicas, ao contrário da monofonia – música com apenas
uma voz – ou homofonia – música com uma voz dominante acompanhada por cordas. O termo é usado para referir-se inicialmente a mudanças que começam a aparecer na música do final da Idade Média.
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7. Contraponto, ou a habilidade particular da música, de acordo
com o The Concise Oxford Dictionary of Music, de dizer duas coisas ao mesmo tempo, de modo compreensível. Interessados no estudo do contraponto podem pesquisar as possibilidades musicais da adição de uma “parte” ou uma “voz” a outra, ou a combinação simultânea de vozes; cada uma delas com sua significação e característica em si mesma. Em música, isso pode resultar numa textura íntegra, com uma especial ordem interna. Para aprofundar esse caso, é recomendável o estudo da polifonia.
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8. Entre 13 de dezembro de 1545 e 4 de dezembro de 1563
ocorreu em Trento, na Itália, o décimo nono conselho ecumênico da Igreja Católica, numa resposta à Reforma Protestante, o que incluiria uma revisão do comportamento no interior da Igreja, eliminando o que ela considerava inadequado. Devem ser destacados os 18 anos de duração do Concílio de Trento, necessários para as demoradas discussões das questões teológicas, políticas, das regras do teatro neoclássico, de questões jurídicas – direito canônico e direito geral. Tratava-se de uma reformulação dos aspectos éticos, artísticos, morais e teológicos, que interferiram politicamente no mundo ocidental. Foi o mais longo concílio da história da Igreja Católica.
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9. Considerado o maior entre os compositores da música litúrgica,
Giovanni Pierluigi ficou conhecido pelo nome da sua cidade natal, Palestrina. Nasceu entre 1514 e 1526 e morreu em 1594, na cidade de Roma.
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10. “The madrigal became the dominant Renaissance vocal form,
and it was mastered by the Italian composers. In reaction to the Protestant reformation, the Catholic Counter-Reformation
culminated in the Council of Trent, which put strict limitations on vocal polyphony, and it favored the smooth style of Palestrina, which allowed the text to be heard clearly.”
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11. “[…] banish from churches all those kinds of music, in which,
whether by the organ, or in the singing, there is mixed up anything lascivious or impure.”
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12. Literalmente, aqueles que se reúnem numa câmara.
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13. Libretto, diminutivo de libro, em italiano. O libretto traz todo o
texto de uma ópera, as rubricas e eventualmente observações da montagem. Em muitos casos, os libretti ficam disponíveis (ou são vendidos) no foyer, o que permite que o público acompanhe o texto cantado. A tradição, que exige dos cantores alta expressividade musical, pode, por outro lado, comprometer a articulação e com isso a compreensão do texto cantado.
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14. No sentido musical de melodia – canto – em uníssono.
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15. Filho do compositor de mesmo nome.
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16. O Concise Oxford English Dictionary explica: […] mousiké
(tekhné) “(arte) das Musas”, de mousa, “muse”.
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17. O termo deriva de Argo, nome da embarcação de 50 remos,
construída por Argus, sob o comando de Jasão, para viajar à Cólquida, em busca do Velocino de Ouro. Acompanhado de uma tripulação composta de mais de quatro dezenas de jovens heróis, depois de uma saga que envolve traição, ganância, bravura e magia, Jasão retorna com o Velocino, entregando-o a Pelias. (GRAVES, 1957)
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18. Ou Phoebe, o termo pode ser compreendido como “brilhante”,
referindo-se a primeira deusa da Lua na mitologia grega.
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19. Orbe, em latim orbis, ou qualquer figura esférica ou circular.
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20. Hymeneos, na sua forma grega, era o deus do casamento.
Também conhecido como Hymenaeus ou Hymenaios em latim; filho de Apolo e Afrodite.
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21. Nota da tradução de Bocage esclarece: “Orco, que corresponde
ao grego Hades”. (OVÍDIO, 2006, p. 78)
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22. “Monteverdi’s Orfeo became a synthesis of extant Renaissance
musical forms, the composer adapting and expanding madrigals and pastorals to suit the needs of his music drama, and endowing them with an intense expressiveness. […] | Monteverdi also became a pioneer in dramatic instrumentation: he extended the resources of the orchestra, realized its unrivalled range, power, and varied tone colors, and recognized its power to enhance the dramatic representation; he claimed that the string tremolo and the pizzicato were his own discoveries. | Monteverdi’s Orfeo was the first successful opera; it represented a synthesis of existing theatrical elements, such as stage scenic design, dance and ballet episodes, songs and ballads, madrigal-style and pastoral-style choruses, and recitative; all of these parts were integrated into an opera, a singular integration of all theatrical elements.”
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23. “Io la Musica son, ch’ai dolci accenti | so far tranquillo ogni
turbato core, | et or di nobil ira et or d’amore | poss’infiammar le più gelate menti. […] Io su cetera d’or cantando soglio | mortal orecchio lusingar talora; | e in questa guisa all’armonia sonora | de la lira del ciel più l’alme invoglio.”
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24. “Monteverdi’s Orfeo utilizes many traditions that still dominate
opera today: recitative, arioso, duet, choral and dance interludes, musical characterization, and continuity through leitmotiv.”
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25. Uma espécie de refrão musical que se repete em uma obra
musical de natureza vocal.
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26. Versos ou linhas em um poema; um conjunto de linhas que
constroem uma unidade métrica básica e recorrente em um poema. Um grupo de quatro linhas em certos exemplos da métrica antiga, na poesia grega e também latina.
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27. “[…] the prologue to Orfeo opens with a ritornello what is
repeated four times in a shortened form after each stanza and once in its original form at the end of the prologue. Moreover, Monteverdi brings in the same ritornello at the end of Act IV, the close of the significant dramatic action – thus making it a kind of leitmotiv symbolizing the ‘power of music’, the central idea of the opera […].”
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28. “Or mentre i canti alterno, | or lieti or mesti, | non si mova
augellin fra queste piante, | Ne s’oda in queste rive onda sonante, | Et ogni auretta in suo cammin s’arresti.”
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29. “In questo lieto e fortunato giorno […].”
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30. “[…] Oggi fatto é felice | Orfeo nel sen di lei, per cui giá tanto |
per queste selve ha sospirato e pianto. […].”
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31. “Lasciate i monti, | Lasciate i fonti, | Ninfe vezzose e liete. | E in
questi prati | Ai balli usati | Vago il bel piè rendete.”
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32. “Vieni, Imeneo, deh, vieni, | e la tua face ardente | sia quasi un
sol nascente | ch’apporti a questi amanti i dì sereni | e lunge omai disgombre | degli affanni e del duol gli orrori e I’ombre. […] qui miri il sole | vostre carole, | più vaghe assai di quelle | ond’alla luna, | la notte bruna, | danzano in ciel le stelle.”
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33. “Sol, che’l tutto circondi e’l tutto miri, | dagli stellanti giri, | dimmi,
vedestu mai | i me più lieto e fortunato amante?”
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34. “Che, poiché nembo rio gravido il seno | d’atra tempesta
inorridito ha il mondo, | dispiega il sol più chiaro i rai lucenti.”
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35. “E dopo l’aspro gel del verno ignudo | veste de fior la primevera
e campi.”
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36. Phoebus Apollo ou Apolo, o brilho reluzente.
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37. “Mira, deh mira, Orfeo, che d’ogni intorno | Ride il bosco e ride il
prato. | Segui pur col plettro aurato | D’addolcir l’aria in sì beato giorno.”
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38. “Parte declamada da ópera, responsável por narrar o
desenvolvimento da ação, em complemento às árias, dedicadas à reflexão que contém geralmente uma somatória de sentimentos. Normalmente escrito para uma única voz, o recitativo desenvolve-se para atender mais aos ritmos e acentos do texto do que à riqueza melódica. Se a ária pode ser apreendida como lugar dos sentimentos, no recitativo, a razão e a disputa aparecem.”
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39. “Ahi caso acerbo, ahi fat’empio e crudele. | Ahi stelle ingiuriose,
ahi ciel avaro.”
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40. “La tua dilleta sposa è morta.”
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41. “Scorto da te, mio Nume | Speranza, unico bene | degli afflitti
mortali, omai son giunto | a questi mesti e tenebrosi regni | ove raggio di sol giammai non giunse.”
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42. “Ecco pur ch’a voi ritorno, | care selve e piaggie amate, | da quel
sol fatte beate | per cui sol mie notti han giorno.”
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43. Em grego, Χάρων – o brilho é um Gênio velho e barqueiro do
rio Aqueronte, nas fronteiras do inferno; filho de Érebo e da Noite, tem como função transportar as sombras dos mortos na sua barca escura, atravessando o pantanoso rio e garantindo que os mortos cheguem ao seu destino, o Hades. Caso contrário podem permanecer no rio por muitos anos. Os gregos
temiam que eles, então, retornassem à luz. Por isso o barqueiro é recompensado pelos vivos que põem duas moedas na boca – ou uma em cada olho – dos seus mortos, assegurando a travessia. (GUIMARÃES, 1995, p. 98)
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44. “Possente spirito, e formidabil nume, | senza cui far passaggio a
l’altra riva | alma da corpo sciolta invan presume, | (Ritornello) non viv’io, no, | che poi di vita è priva | mia cara sposa, il cor non è più meco, | E senza cor com’esser può ch’io viva? (Ritornello) […] sol tu, nobile Dio, puoi darmi aita, | né temer dei, | ché sopra un’aurea cetra | Sol di corde soavi armo le dita | Contra cui rigid’alma in van s’impetra.”
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45. “Ben mi lusinga alquanto | Dilettandomi il core, | Sconsolato
cantore, | Il tuo pianto e ‘l tuo canto.”
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46. “Signor, quell’infelice | Che per queste di morte ampie
campagne | Va chiamando Euridice, […].
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47. “l’ombre eterne e quest’oribili caverne.”
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48. “Sai benedeto el di che prai ti piacqui | [..] poi Che per mia
ventura | fece aquisto di te, perdendo il sole.”
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49. “O dolcissimi lumi, io pur vi veggio! | Io pur… | Ma qual eclissi,
ohimé, | v’oscura?”
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50. “[…] Vuoi vi doleste, o monti, e lagrimaste | voi sassi, al dipartir
del nostro sole, | ed io com voi lagrimeró mai sempre, […].”
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51. “Sì non vedrò più mai | de l’amata Euridice i dolci rai?”
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52. “Nel sole e nelle stelle | vagheggerai le sue sembianze belle.”
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A luz na “alegria de viver”
renascentista
1. “[…] was presented on a scaffold in the nave, and the audience
crowded round to marvel at the hundreds of lights which circled the throne of God, while children, garbed as angels produced the music of the sphere on cymbals, flutes and harps. A special contrivance controlled the descent of the Archangel Gabriel.”
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2. “It is also said that Filippo invented the machinery for the
Paradise of San Felice in Piazza (located in the same city) in order to stage the mystery play or, rather, the feast of the Annunciation as was customary in the old days at the place in Florence. The machinery was truly marvelous and demonstrated the talent and skill of the man who invented it, for on high a Heaven full of living and moving figures could be seen, as well as countless lights, flashing on and off lightning. […] Filippo had placed a half-globe shaped like an empty bowl or a barber basin turned upside-down between two of the beams which supported the roof of the church. […] At its base on the inside edge, certain wooden brackets were placed, just large enough for a person to stand upon, and also inside but at the height of an armslength, there were iron claps. On each of the brackets stood a child of about twelve years of age, secured win an iron clasp one-and-one-half armslengths high in such way that he could not be fallen even if he tried.”
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3. “[…] must go the credit for a number of technical improvements
on the fundamental pattern that Brunelleschi established […].”
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4. O apelido Masaccio pode ter sua origem na aparência do jovem
pintor, já que o sufixo accio pode se referir ao sentido de feio, ou grande.
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5. Esse pensamento, encaminhado desde Agatharcus de Samos
(século V a.c.) – cujo tratado sobre perspectiva não sobreviveu, mas é mencionado por Vitruvius – reapareceu em Roma, repercutiu em Giotto (1266-1337), tornou-se objeto de estudo em Brunelleschi, figurou como item importante na obra Della Pittura, de Leon Batista Alberti (1404-1472), e acompanha a expressão da visualidade até hoje.
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6. Do grego polýs – “numeroso” + ptýx “dobra; prega”. O políptico
é um retábulo que integra quatro ou mais painéis fixos ou móveis, formando um conjunto de imagens com o mesmo tema ou assunto.
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7. “And in his work Masaccio constantly tried to create the most life
like figures with a fine animation and similarity to the real.”
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8. Um artifício ou estratégia literária ou cinematográfica, no qual a
sequência cronológica de eventos é interrompida para introduzir um evento futuro.
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9. Obra de pintura, desenho ou escultura, composta de três
painéis: um, central e fixo, e os outros dois, laterais e móveis, ligados ao primeiro por dobradiças ou gonzos. As partes laterais podem dobrar-se sobre a parte central. (HOUAISS, 2009)
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10. Um artifício ou estratégia literária ou cinematográfica, no qual a
sequência cronológica de eventos é interrompida para introduzir um evento do passado.
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11. “[…] in the 16th century Italian theatre at the princely courts and
in the humanistic academies, advanced experiments were made in stage lighting which were to form the basis of the entire future development.”
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12. “The celestial vision became a living tradition borne during the
16th century both by the ecclesiastical and the secular theatre attached to courts. In newly written plays with mythological
motifs, the learned humanists made the Olympus of Antiquity invade the Christian Paradise, made Jupiter as in Leonardo da Vinci’s Il Paradiso, replace God the Father in a brilliantly lit Heaven, made cupids or deities float on their chariots instead of Jesus Christ.”
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13. “[…] the Paradise was shaped like half of an egg, the inside of
which was entirely covered with gold, and in its interior there was a large number of candles twinkling like stars.”
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14. Esses desenhos aparecem no Codex Arundel c. 1490-c. 1518
(um conjunto de manuscritos ilustrados sobre diversificados assuntos, como arquitetura, geometria e incluindo o célebre mecanismo para respiração subaquática). Tradução: “Some sketches by Leonardo were supposed to be connected with this performance, but later research has proved that, in all probability, these sketches refer to a performance of Poliziano’s dramatic poem Orfeo.”
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15. “It was both the direct light from all the sources at different levels
and the reflected light of the silk material and brilliant jewels of the costumes that gave the eyewitness this intense sense of light and joyous feeling of bliss. The palace courtyard had been converted into a festival hall prepared to receive pageants which, in their theatrical design with numerous contributions of light endowed the lighting with dynamic life and mobility. The engravings that adorn Gualterotti’s feast account do give a faint echo of the pageantry. They are, like Serlio woodcuts, a splendid example that goes to show that the pictures need to be ‘illuminated’ in our visual imagination.”
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16. “[…] – light not as a symbol of all-pervading clarity of God, but of
the enhanced sense of life of the Renassaince itself. This joy of living was reflected in the splendour of the sparkling festival culture of the princely courts […].”
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17. Estudioso inglês e professor da Universidade de Yale.
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18. Ou theatron, em grego: local destinado ao público.
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19. Uma espécie de cobertura, em tecido.
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20. “[…] each play is adorned with a series of woodcuts showing
various episodes in the plot. […] careful study reveals the fact that they must have been taken directly from actual productions of the plays. The chief indication of this fact lies in the grouping of the woodcuts themselves. A reference to Fig. 72 will show that throughout the particular comedy there illustrated the setting is constant. This setting consist of a back wall composed of five simple columns supporting four round arches, the spaces between the columns being closed by curtains, which can be drawn as is shown in the second woodcut in Fig. 72, and behind which are tiny rooms with rear windows (firstwood cuts in the Fig. 72). Each compartment denotes a separate locality, or, to be more exact, denotes the house (domus or mansion) of one of the characters in the play […] being written below the four arches.”
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21. “The comedies of Terence […] were circulated in Germany after
1470 through Johann Mentelin. Johann Grüninger (1455-1533) brought out a Latin edition in 1496 and in 1499 a richly-illustrated German Terence (15431 and 15434). This last was preceded by a Terence with 159 woodcuts printed in Lyons in 1493 by Johann Treschel (d. 1498), which is notable achievement in French book art (15424). Grüninger’s edition is of great importance not only for its critical text and in the history of printing, but also in the field of theatrical and costume history. The woodcut on the title page (see plate 28) shows for the first time a contemporary ‘Terence stage’, and the full-width stage settings at the head of each comedy depict dramatic characters for the first time in the history of book illustration.”
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22. “Within the scene were cloths of gold and some shrubs, as the
scenes required; one of the sides was decorated with six
pictures of the royal triumph from the hand of the famous Mantegna. […] Within the scene at the foot of the frontispiece appeared Petrarch’s Triumphs, painted also by the hand of Mantegna.”
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23. “The stage represented a very beautiful city, with streets,
palaces, churches and towers. The streets looked as if they were real, and everything was done in relief, and made even more striking through the art of painting and well-conceived perspective. […] On either side of the horse were two small altars, each of which showed a vessel wherein a bright flame was burning throughout the entire performance.”
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24. “He also arranged the lights inside for the perspective […].”
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25. “He next devised an ingenious wooden lantern like an arch
behind the buildings, and a sun a braccio (ca. 2 feet) high made of a crystal ball filled with distilled water, with two lighted torches behind, illuminating the sky of the scenery and the perspective, so that it looked like a veritable sun.”
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26. “The wax and tallow candles, but also oil lamps created an
atmosphere of gold-dust, softly saturated, glittering, which was in keeping with and the prerequisite of the imagery of the perspective scene.”
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27. “We have to let him know that, without artificial lighting the
scene will be deprived of its beauty, in particular the intermezzi which appear very poor in sunshine even though they are the most beautiful and richest in the world. Besides, expenses would be reduced if stage lighting were used, for the beauty that is created before our eyes through artificial light can be made up for only by great expenses in adorning devices.”
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28. Ph.D. na Yale University em 1937, autor, professor em algumas
universidades norte-americanas, como a State University of Iowa.
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29. Do original: “For the first time, since the classic theatre a large
stage was design to represent a single unified place. For the first time in the European theatre the scene was designed to create a complete illusion […]”.
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30. Um recesso em forma de cúpula ou abóboda, poligonal ou
semicircular, especialmente encontrado nas igrejas.
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31. “Angelo Ingegneri, capable of such things, has directed this
tragic business.”
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32. A perspectiva forçada é um recurso visual aplicado para sugerir
maior profundidade do que aquela que a extensão objetiva do ambiente efetivamente apresenta. Pode ser observada na arquitetura antiga, já no início do século IV d.C., na Basílica de Constatino [Konstantinbasilika], construída na Alemanha, em Trier, pelo imperador Constatino (306-337 a.D.), que lhe deu o nome. Na vista lateral externa, pode-se observar a menor dimensão das janelas dispostas na extremidade circular. Essas mesmas janelas sugerem uma ilusão de mesma dimensão na vista interna, devido à perspectiva forçada. O teatro, o cinema e muitos outros meios que pretendem interferir na percepção da tridimensionalidade aplicam esse recurso. Um clássico exemplo encontra-se no Teatro Olímpico, em Vicenza, na Itália, no cenário projetado por Vicenzo Scamozzi (1548-1616) para o espetáculo de inauguração em 1585, Édipo Rei, dirigido por Angelo Ingegneri (1560-1613).
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33. “Among all things made by hand of man few in my opinion bring
greater contentment to the eye and satisfaction to the spirit than the unveiling to our view of a stage setting. […] all enriched by innumerable lights (large, medium and smalls, according to their position) at times so skillfully placed that they seem like so many sparking jewels – diamonds, rubies, sapphires, emeralds and other gems.”
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34. “For all these colors you must have containers[bozze] made of
glass, of special shapes with flat and rounded side to hold the water.”
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35. “When you need a especially strong light you put a torch behind
a glass and behind the torch a barber’s basin well burnished. This will reflected a splendor like the rays of the Sun.”
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36. “But none of these lights have anything to do with the
illumination of the scene. For this a large number of candles are placed leaning at the front of the scene. Also above the scene are hung chandeliers, and above these chandeliers a vase of water in which a floating piece of camphor burns will give a very beautiful light and odor.”
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37. “The phrase ‘pendente davanti alla Scena’ is usually taken to
mean ‘hanging in front of the scene’. The use of ‘also above the scene’ in the following sentence leads us to think that Serlio is speaking of some kind of footlight perhaps similar to the ‘leaning light’ described by Furttenbach. If so this is an important early reference to footlights.
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38. Nascido em Mântua, descendente de aristocratas, com
formação, tanto no pensamento renascentista, quanto na tradição hebraica, poeta e homem de teatro, foi responsável e supervisor de espetáculos na Corte de Mântua, que era frequentada por muitas autoridades europeias. Escrevendo não somente em italiano, mas também em hebraico, a ele se credita a autoria da primeira peça nessa última língua, datada de 1550. Sua carreira é diversificada e mostra um artista versátil: sendo autor de textos, cenários e direção de espetáculos, gozava de grande reputação na Europa. Sua obra contém 13 peças, poemas, sátiras, canções, pastorais e o Dialoghi in matéria di rappresentazioni sceniche [Diálogos sobre a representação cênica], provavelmente escrito depois de 1550, submetido a Cesare Gonzaga, patrono da escola literária Accademia degl’Invaghiti.
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39. “Santino. What is the use and the origin of those lights on the
rooftops of the houses on the stage? They do not seem to me to aid the perspective, and for purposes of illumination there are torches enough. | Veridico. I think I have said and repeated the fact that comedies are presented for the purpose of enjoyment and the alleviating gloomy thoughts; for that reason I said to you, and I repeat it again, that the actor must be bidden to speak his lines in a happy and bright manner. Now, granted that the author gives us a pleasant, charming plot and that the actor interprets it in a joyous spirit, surely it is necessarily that the architect on his part should represent gladness and joy, and since both modern and ancient custom is and has been to light fires and torches in the streets, on housetops, and on towers as a sign of gladness, therefore this is the origin of the conventions – to imitate such glad celebrations. | Santino. These lights, then, could not be used in tragedy? | Veridico. Perhaps they would not be so out of place there, since generally tragedies open in happiness [and so] it will not be unfitting to arouse the mind as much as possible to this happiness. […] Once I had to produce […] a tragedy. The stage was brightly illuminated through all the part of the action in which the episodes were happy: as soon as the first unhappy incident occurred – the unexpected death of a queen – while the chorus was an exclamation that the sun could suffer to see such misery, I contrived […] that at that very instant most of the stage lights not used for the perspective were darkened or extinguished […].”
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40. Cf. a subseção “Outros Rumos para o Pensamento Visual da
Cena” desse livro.
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41. “It is not the light of the world that had been withdraw from
people, but fate and misfortune cast their shadows darkening the picture, an expressive light.”
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42. “The preserved notes on the preliminary technical work on the
plays show clearly what care was taken with lighting in conformity with Buontalenti’s directions.”
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43. “The sky should be very strongly illuminated but see to it that the
lights are not seen but are reflected, as far as possible, among the gods.”
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44. “First of all, balustrades and pillars at the raised platform to put
candles in.”
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45. “[…] it is quite clear from the festival accounts that Buontalenti
used the light on the stage in a new way. Time and again we are told that sources of light were concealed from the eyes of the spectators.”
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46. “[…] Ingegneri speaks warmly in favour of stage lighting with
sources of light concealed from the eyes of the spectator. If the sources of light are placed so that the audience sees only the light but not its origin, it will enhance the charm of the performance. […] the charm of the performance is heightened in particular if the lights are place so that they can illuminate the face of the actors.”
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47. “He imagines lighting from above, from a lighting bridge behind
the upper edge of the proscenium arch, from where the light is directed towards the scenic action on the front part of the stage. […] The top of the proscenium was adorned with the prince’s coat-of-arms, festoons, fruits, and cupids. Its function was not only to give – together with the side pieces – a festive, decorative frame round the picture but also to conceal the increasingly complex stage machinery needed for a dynamic, imaginary world with changeable scenery, mobile clouds and chariots.”
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48. “So Ingegneri imagines a row of lamps with reflective material
placed on the backside of the proscenium arch. This was a
separate element detached from the side pieces and could be lowered before the performance for the lighting of the lamps. So the proscenium arch had been given its third function: that of being, on the inside, a base for a lighting bridge. But Ingegneri used these lights as adorning devices too, by making them illuminate from behind the transparent top of the prince’s coat-of-arms and other adornments which to the audience, seemed luminous.”
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49. “The ghostly apparitions, says Ingegneri, have to take place at
the very back of the perspective scene, for here they seem out of proportion to the surrounding buildings, and this alone produces a frightening effect. But there is also another reason: there the breadth between the screens is smaller and could be covered with a black veil. Through the veil one sees everything that happens behind it in a mysterious and the hellish monster, which ‘must spread around it darkness just as the holy figures shed light’, conveys to the spectator an illusion. The veil should be stretched across the stage so far from the back-drop that the ghost can move behind it. He should be dressed in black and form ‘a shapeless figure’ by not letting legs or arms show. He should not move by steps but glide on small wheels, his voice should be high-pitched, shrill and all the time be kept at the same pitch. While speaking, he should be in continuous motion and then vanish suddenly. At the same time, the black veil should begin to burn, prepared in advance so that the fire could do no harm. The fire increases the spectator’s fright and dazzles him.
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50. “Biographical details about Sabbatini are lacking in precision.
Thieme-Becker lists him as an architect, a constructor and a painter of scenery, who was born at Pesaro about 1574 and who died there on December 12, 1654.”
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51. “[…] the machines described in both these books have been to
a great extent used in the very noble spectacles which recently were presented in the Teatro del Sole at Pesaro, and they
worked so satisfactorily that they received particular admiration and gave pleasure to the spectators.”
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52. Como ocorreu durante o espetáculo de inauguração, no qual foi
apresentado um torneio de que tomaram parte quarenta cavaleiros. Na parte final do espetáculo, a orchestra foi preenchida com água, para mostrar uma espetacular batalha naval, que incluiu disputas entre seis contendores montados em golfinhos.
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53. “In building the stage you must watch not to take up too much or
too little space, otherwise one or two inconveniences will result: (I) because the limitation in space the scenery will not show sufficient perspective distance and consequently will not prove so pleasing to the eye. Besides which the restrictions of space will at times create great confusion […] and (II) because by too much space the number of spectators will be curtailed, which is bad.”
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54. “Other oil lamps, or better, torches must be distributed over the
stage. This will be best accomplished if some suitable sized pieces of wood are used, as long as the distance from the floor of the hall to the lowest part of each house on the street which is to be illuminated. These should be firmly fixed with plaster to the floor by means of holes sufficiently large that the pieces of wood do not touch the stage at any point. Then their ends are well fixed by means of braces to the wall, and lamps well secured, […]. By this means they are firmly and steady even when the stage shakes from the dancing and tumbling.”
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55. “True, one can see better the costumes of the actor and the
dancers, but is also true that their faces seem so pale and wan that they look as though they just a had a bad fever.”
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56. “The impression of great distance and width was created by
good use of perspective. In one direction, through a forest was seen the city of Jerusalem. At the right side was the castrum
doloris, or sepulchrum Dominicum. It was eight spans long and about six spans high, decorated like a well-formed coffin completely covered with black velvet on which was a large quantity of expensive diamonds that cannot be described. […] A great spectacle of riches was created by the glow from standing lights put in hidden places within the heavens. The diamonds sparkled as though stars in heaven where shining.”
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57. Da tradução inglesa: “On the stage, there should be a large
number of oil lamps, […] placed within the scene, above between the clouds, at both sides, and in the front and rear pits, all of course completely concealed. These will give out such a splendid glow that will seem as if daylight were breaking through the clouds.”
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58. “They tell us much about Italian practice that we can learn from
no other source, and show how that practice was adapted in a country far from Italy. Second, they give us the most extensive information we have about the form and use of the inner stage. The use of the inner stage as a regular part of the continental theatre has not always been recognized, and its importance as a parallel to the English stage has not been fully explored. Third, they show Furttenbach as an advanced thinker in lighting practice.”
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59. “The putting of plays is a most delightful and useful training for
growing youth, […]. Acting in a well-equipped theatre will give boys a pleasing appearance, a confident speech, and a heroic spirit that will prepare them well for later discourses on both spiritual and secular occasions. Therefore there is a special need for private citizens of cities to build such beneficial theatres to save the growing your from sins, shames and vices.”
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60. “During such a storm the daylight should get dimmer and
gradually become dark like night. It could be arranged that the oil lamps and lights behind the scene be put out and later relighted. But it would require time, and extinguished oil lamps
produce a bad smell. Hence we have little boxes or covers, specially made of black metal that by cords are drawn over and then away from the oil lamps on the floor behind masking screen, as well as over and away from the oil lamps behind the proscenium. They can be drawn over all of the oil lamps at a time, or only part. They cover the lamps but still permit them to burn, so that it seems night on the stage. The cord from each lamp is led up above the stage and thence to a single handle for all the cords. When this handle is forward, the lights shine as for a bright day, but when the handle is drawn back when each cap covers its oil lamp so that not a ray is seen. Thus it was made to grow dark with the thunder and lightning in the scene where the Pharaoh grew obdurate, and through the act of Moses it became night for a time in Egypt. This effect for such occasions gives great delight to those who see it.”
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61. “It is very important that the windows be planned at the right
places for proper lighting and plenty of air. So many people so close together cause the air to become very warm and damp, and the architect would be held a simpleton if, after the building has been finished, more windows had to be cut into the walls, or the upper flooring spoilt by cutting large vents for the air.”
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62. “No windows are placed at the sides of the front pit. The walls
there are left unbroken so that the spectator will not be blinded, but will sit in darkness and have the greater wonder at the daylight falling in at the streets between the houses as well as at light of the morning coming from between the clouds.”
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63. “It were better if no windows are put at the side of the audience,
so that the spectators, left in darkness like night would turn their attention to the daylight on stage. But it is still better to have a pair of windows at the every tenth bench to let in air before the play begins. Then, at the sound of trumpet and drums, before the curtain is let down, the windows of the audience can be closed by shutters, or filed with green leafwork so that the air can come in and the room still be darkened.”
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64. Da tradução inglesa: “Experience shows how strong a splendor
will be cast by lamps fitted with such reflectors and screwed in the heavens and about the entire scene.”
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O brilho da luz divina
1. 2. “We must also beware that it has not a southern exposure.
When the sun shines full upon the rounded part of it, the air, being shut up in the curved enclosure and unable to circulate, stays there and becomes heated; and getting glowing hot it burns up, dries out, and impairs the fluids of the human body. For these reasons, sites which are unwholesome in such respects are to be avoided, and healthy sites selected.”
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2. Deve-se lembrar que não havia elevadores.
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3. A elaborada construção, ao fundo do palco, onde aparecia a
Porta Régia, ao centro, e ainda presente no Farnese. Progressivamente a Porta Régia se expande até originar a boca de cena moderna.
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4. Mecanismo (guindaste de palco) que permitia elevar e descer
atores e/ou objetos.
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5. “During his aedileship, and just for the temporary use of a few
days, Scaurus wrought the greatest work ever achieved by the hands of man, even when intended for permanence: I refer to his theatre. The building had three stores, supported on three hundred and sixty columns, and is also in a city which had not given one of its leading citizens permission to erect six pillars of Hymettian marble without some criticism. […] the lowest columns […] were thirty eight feet high, and place between them […] were three thousands bronze statues.”
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6. “C. Curio had two large wooden theatres built close together;
each was nicely poised, turning on a pivot. Before noon, a spectacle of games was performed in each, with the theaters back to back so that the noise in each would not interfere with the other’s performance. Then, suddenly, toward the latter part of the day, the two theatres would swing around to face each other with their corners interlocking, and, with their outer frames removed, they would form an amphitheater in which gladiatorial combats were presented.”
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7. Pintor grego que viveu no século V a.c. e teria trabalhado com
Ésquilo, de acordo com Vitruvius (1914, p. 161). Ainda que Aristóteles (1951, p. 73) tenha afirmado que Sófocles teria introduzido a cenografia, Vitruvius menciona a contribuição de Agatharcus para o espetáculo de Ésquilo, comentando adicionalmente que isso provocou Demócrito e Anaxágoras, levando-os a escrever acerca do tema, seguindo os passos dos comentários anteriormente elaborado por Agatharcus, cujos termos incluem o que se pode inferir como princípios do desenho perspectivista. Vitruvius, ao mínimo, inicia a discussão da perspectiva, já no século I d.C.
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8. “In front of the stage was a trough or trench for the curtain
(aulaeum), which was lowered into the trough at the beginning of the performance and raised at the end. There were also smaller curtains (siparia) to screen off parts of the scaenae frons as required. The orchestra, the flat space between the stage and the auditorium, was used for seating for senators, priests and officials. Above the stage was a wooden roof that also acted as a sounding board. The audience was protected from sun and rain by an awning (velum or velarium) rigged on ropes from masts on the top of the auditorium. In some theatres, covered porticos were built as part of the auditorium or behind the scaenae frons to provide shelter for the audience between performances.”