Two examples of 20th century theatre building may be con sidered typical of progressive practice (fig. 15). The more radical experimenters have already called for the scrapping of the entire proscenium-frame house, and a return to the principles which determined the theatre form before "pic ture" scenes were introduced—with refer ence, however, to modern lighting ad vances. It may be assumed that some such change will come shortly, and that the return to an architectural stage will de mand radical changes in auditorium con struction. But as yet the several theatres built with formal stages, without proscen ium arch, are too different, and their ad vantages too tentative or too special, to warrant any generalization beyond the proscenium-frame house illustrated above. (S. CHE.) BIBLIOGRAPHY.-The only historical work in English dealing at all fully with this subject is The Development of the Theatre, by Allar dyce Nicoll (London and New York, 1927). It is profusely illustrated, particularly as regards the Greek, Roman and English theatres. As a complementary volume, with many illustrations of the Continental court theatres of the 17th-18th century, the reader should consult Der Moderne Theaterbau, by Martin Hammitzsch (Berlin, 1906). Another useful reference work in German is Manfred Semper's Theater, in the Handbuch der Archetektur series (Stuttgart, 1904). In English a useful brief treatment from the loth century viewpoint is to be found in Modern Theatres, by Irving Pichel (New York, 1925). The "standard" work on theatre architecture in English is Modern Opera Houses and Theatres, by Edwin 0. Sachs (London, 1896-98), a monu mental work in three volumes, with extraordinarily fine plates; but it can be recommended only with the reservation that the conception of stage art has been so revolutionized in the last quarter-century that it is wholly out-of-date in its viewpoint. For an earlier period one may profitably consult G. M. Dumont's Parallele des plus belles salles de spectacle d'Italie et de France (Paris, 1763). To trace the material the lengths of blocks, and the type of buildings dominating the view. Difficult conditions reach their acme in New York. The Metropolitan Opera House (Cady, Berg and See, archs.) alone occupies an entire block. The Radio City Music Hall, which is re puted to be the largest theatre in the world, with a seating capacity of approximately 6,200, is situated in a relatively incon spicuous place in the group of buildings which constitute Rocke feller Centre. In London among many examples showing one fa cade only there are the new Carlton theatre (F. Verity, arch.), and the Fortune theatre. The theatre architect in all countries has about the theatres of individual countries or periods, the reader may best consult the descriptive bibliographies in Professor Nicoll's book.
The theatre, with its special uses and special restrictions, nat urally calls for special architectural treatment. The peculiarly public nature of dramatic art stamped one primary requirement on theatre architecture long be fore the advertising mania of the present age appeared to rein force it : it must attract atten tion and its function must show in outer aspect.
The essential architectural beauty of the exterior of a thea tre must come not from decora tion but rather from the massing of those portions of the walls which reveal the three essential inner parts of the playhouse—the stage, the auditorium and the foyers.
street or square—the Paris Opera House (Ch. Garnier, arch.) ; the Schauspielhaus in Berlin (Carl Friedrich Schinkel, arch.) ; the Champs Elysees, Paris (A. and G. Perret, archs.), Staatsoper, Vienna (Van der NH and von Siccardsburg, archs.) ; Dresden Opernhaus (Gottfried and Manfred Semper, archs.) ; or the Prinz Regenten theatre in Munich (Max Littmann, arch.)—or even in a park, as in the case of the twin State theatres of Stuttgart (Littmann, arch.), and many others. Everywhere we find that it is growing more and more difficult to find such ample and predomi nant sites in the larger cities on account of the high value of land, now usually only one façade available to tell the story which two, three or even four told in the past.
Modern Conditions and Restrictions.—The architect lim ited to one façade facing a narrow street, has found it hardest to show in the outer form of his building the anatomy that lives within. Yet even under these conditions the Guild theatre (C. Howard Crane and Kenneth Frazenheim, archs.) manages to mark off handsomely the stage-house like an Italian brick tower above the stucco front of the lower auditorium.
Congestion and fire regulations play particular havoc with thea tre architecture, yet several more or less successful attempts have been made to combine necessity with beauty. In the bold Martin Beck theatre (G. Albert Lansburgh, arch.) and in the charming Music Box (Crane and Frazenheim, archs.) the inevitable fire escapes required by law find a pleasant hiding place within por ticoes. The Henry Miller theatre (Paul R. Allen and Harry Creigh ton Ingalls, archs.) conceals unsightly alleyways—again required by law—within its Georgian walls. The law does not require the builder of a theatre to protect his patrons from the rain while they wait for taxis and motor-cars, yet the marquee becomes in evitably one of the most important items of the façade, unless an arcade or portico has been designed to protect the waiting crowds.
Electric Signs.—The worst problems of the architect who builds theatres in a great city come from the primary require ments of such a building—that it must be seen and tell its story at the greatest possible distance. The set-back laws, new treat ments of L-shaped, U-shaped, or H-shaped courts in front of tall buildings, and the enormous height of the skyscrapers make period fronts on three or four-storied theatres an insufficient and even ridiculous attraction against the gigantic, varied and vital proportions of the neighbouring buildings. To compete for visual notice under these conditions, the theatre owner turns to enormous electric signs, and blankets the facade behind flashing bulbs and painted tin. London examples of good exterior lighting arrange ments are the Plaza theatre (F. Verity, arch.), and the Astoria cinema (E. A. Stone, arch.).
The modern architect has to consider as the main requirements in the exterior design of theatres three things which the architect has never before had to deal with. These are electric advertising signs, fire escapes and marquees. Not until we have made these necessities a part of our architecture, not until these necessary evils have been fused into a thing of beauty and have formed their own architectonic style and expression, can we hope for a new, adeauate and handsome theatre façade.