THE “ASPHALEIA” STAGE, SHOWING HYDRAULIC TRAPS
AND HORIZON.
In our [engraving] it will be noticed that the horizon is represented by a canvas background like a panorama. In the “Asphaleia” theater the back of the stage is much wider, as compared with the opening of the proscenium, than it is in ordinary theaters. Its whole area is surrounded by a continuous cloth scene, on which there is painted a sky called the horizon, which runs from the back of the stage and up each side for quite a distance. In order to produce the effect of an unbroken surface the corners are rounded off very carefully so that the eye of the spectator is not brought up by the wings. With this system it is no longer necessary to use so much rock and tree work, and it is quite possible to represent boundless plains or the illimitable expanse of the sea. This continuous horizon not only helps in the illusion, but it reaches so high up that borders are no longer needed. The horizon, like the canvas in a cyclorama, represents a uniformly illuminated surface, which gives the same impression as the sky. The horizon is carried by the rollers, and it may be painted so that at a moment’s notice the different aspects of the sky can be represented, from the deep blue of Italy to the mists and fogs of the North, and from the fleeciest clouds to a sky heavy with thunder. It is even possible to change the nature of the sky during the action of the play or opera.
Another very important feature of the “Asphaleia” stage is the system of lighting; gas battens and footlights are dispensed with. In the “Asphaleia” theater there is a special arrangement of the proscenium; all the lighting is done from the side. There are many other interesting features of the “Asphaleia” stage, which is almost entirely fireproof, and tends not only to minimize the danger of fire, but also to insure the safety of the workmen and artists. This form of theater stage is, of course, expensive in its initial outlay, but it is much cheaper in its actual working. Opinions seem to be very much divided as to its merits; at any rate, it is a most interesting example of the most modern form of engineering talent being devoted to the building of a thoroughly scientific stage. M. Georges Moynet says in “Trucs et Décors,” from which we take our engraving, that the manipulation of the scenery at Buda-Pesth is very slow and that the cellar is very damp.
We have just described the “direct ram” system of operating traps and bridges, but it will be readily seen that the space required for the rams is practically lost, so another system is sometimes used. This is called the “crane” system. In this the bridges and traps are maneuvered by wire ropes which are worked by hydraulic rams placed against the walls of the stage building. Some of these systems are very complicated, but the results are very satisfactory, and are said to be economical, doing away with much handwork, especially so in the day-time.
The Court Theater at Wiesbaden possesses a very novel feature. The entire space occupied by the musicians is really a gigantic trap, the whole floor being raised or lowered by hydraulic power, noiselessly and in a moment. This device was installed by Herr Fritz Brandt, of the Berlin Court Theater. The idea of having an orchestra movable was to permit of the musicians playing at the bottom of the pit when the production of a Wagnerian opera was given, as Wagner believed that the musicians should be out of sight. He made arrangements at the theater at Bayreuth by which the orchestra is entirely concealed from view, the sound coming from the bottom of the deep orchestra well. At Wiesbaden, if a small operetta is to be given, the platform for the musicians is raised to the normal height. This arrangement is valuable in other ways, for in the case of a ball the platform may be run to any height. The hydraulic rams are powerful enough to raise the entire load of sixty-five musicians, so that if desired the orchestra can be see-sawed up and down according to the requirements of the score. The Lyceum Theater, New York City, is similarly equipped.
A THEATER WITH TWO AUDITORIUMS.
The people of New York City have the reputation of being the most tireless theater-goers in all America; a statement which is verified by the ever-increasing number of large and well-filled places of amusement. Of late years the growth of the popularity of the style of entertainments which are classed under the name of “vaudeville” has called into existence a special type of theater, which, in addition to the regulation stage and auditorium, includes special halls of entertainment, with lounging-rooms, cafés, etc., and, for use in the hot summer months, the inevitable roof garden. To judge from the nightly programme of a first-class house of this type, the excellence of the performance is measured, after its quality, by its length and variety. The more rapidly the various artists can make “their exits and their entrances,” the more concentrated amusement can be packed into any given hour of a “continuous performance.”