Ancient theatres : machines designed for listening : a scenary proposal for the optimization of the passive acoustics for the ancient theatre of Tyndais

Federica Lepore, Eirini Kostara Konstantinou

Ancient theatres : machines designed for listening : a scenary proposal for the optimization of the passive acoustics for the ancient theatre of Tyndais.

Rel. Arianna Astolfi, Nikolaos Barkas, Elena Bo. Politecnico di Torino, Corso di laurea magistrale in Architettura Costruzione Città, 2015

Controlla la disponibilità in biblioteca

Abstract:	Prologue This thesis is related to the space of theatron. Although etymologically the word theatron means the space from where you can see, and so the visual constitutes a fundamental part of the dramatic experience, the nature of the theatre seems to be more complex. The sound, just like the visual, is fundamental for the integration of each spectator and the de-codification of the specific cultural message, product from each historical period. The ancients, in order to obtain the global integration of the human being into the theatre system, translate these needs into various elements. View and hearing (non selective) or better listening (selective) are essential in this process. The ancient theatre favors the aggregation of the spectators around the plays, ensuring thus the optimum sound distribution and, consequently, contributing to the creation of an impressive acoustic sensation. The ancient engineers focused to the phenomena of reflection and reverberation. In those buildings, problems such as the architectural composition and form, the visual and acoustics, static and location, were resolved with simplicity and entirety. Several disciplines such as architecture, archeology and acoustics were interrelated to serve this kind of entertainment. Gradually, the theatre became the space where drama was performed during the ancient times. That means that within the theatrical space another one was evolved, meaning the scenic space. (1) This scenic space has been transformed many times through the passage of time. The Greek theatres as a response to a network of preexistent spatial relationships underwent a process that defined their architectural components. They can be classified in several types, such as the Minoan, the Pre- Aeschylean, the Classic, the Hellenistic and the Roman types (2). During this evolution the development of the scene building was the most evolved but unfortunately in most cases only the ruins of its footings still survived. This study is focused on the evaluation of the effectiveness of the scene building, as the theatrical space which hosts the speech. The first part of the present research refers to the evolution of the theatre in antiquity, revealing its connection with the social situation of each period and its direct reflections on the architectural building of the theatre. This part serves as the basis of our following analysis. Particular attention has been paid to the evolution process of the scenic building. The next part explores the researches of Fr. Canac, headed the Center of Scientific Industrial and Maritime Research of Marseille, in the ancient theatres. Its geometrical method is used in order to propose scenery which would improve the acoustic conditions and provide guidelines for the scenery design in the ancient theatres. Finally the generic scenery proposal is tested through mathematical calculations, computer simulations (Odeon acoustics 13.1) and listening tests. The principal aims of the study are: (a) to investigate the scenery evolution of the theatre and restitute the most suitable form of scenery for the theatrical space. Scenery must respect the purpose of each theatrical space. In particular in the ancient theatres where drama plays were born, the scenery design must focalized on speech requirements. (b) to examine the acoustic importance of the theatrical elements (cavea orchestra, parodoi and in particular the scenic elements) for the completion of the scenic design enabling the reproduction of a passive acoustic function. In account of this guidelines, useful for the designers, are provided. At this point is important to underline the boundaries which this research must respect. Ancient theatres are monuments, that have survived through centuries of history. Therefore, our only right is their protection for future generations. The restoring of the ancient theaters (and their probable contemporary use) becomes more complex if one is searching for the original theatrical form of each period and, subsequently the interpretation of the functional requirements for the revival of the ancient drama. Additionally, other difficulties, such as the lack of comprehensive researches on the field, make the task of the contemporary designer even more difficult. The guidelines provided from by this study intent to comply the harmonic development of the scenery with the rest of the building, in an attempt to respect the nature, function and particularly the current situation of these monuments. So it will be a benefit for the designers as also a positive input which is hoped to motivate and guide their creativity in a more sustainable way.
Relatori:	Arianna Astolfi, Nikolaos Barkas, Elena Bo
Tipo di pubblicazione:	A stampa
Soggetti:	A Architettura > AF Edifici e attrezzature per il tempo libero, le attività sociali, lo sport S Scienze e Scienze Applicate > SA Acustica
Corso di laurea:	Corso di laurea magistrale in Architettura Costruzione Città
Classe di laurea:	NON SPECIFICATO
Aziende collaboratrici:	NON SPECIFICATO
URI:	http://webthesis.biblio.polito.it/id/eprint/4390
Capitoli:	01. PROLOGUE 02. SOCIETY, THEATRE AND ARCHITECTURE 02.1 MINOIAN TYPE _ THE BIRTH 02.2 PROCLASSIC TYPE 02.3 CLASSIC TYPE 02.4 HELLENISTIC TYPE 02.5 Greek-Roman Type _ Delos 250 BC 02.6 ROMAN TYPE 03. PHYSICAL AND PSYCHOLOGICAL NEEDS 03.1 THE EAR AND THE PERCEPTION OF SOUND 03.2 THE FUNDAMENTAL LAWS JNTENSITY, DISTANCE, TEMPERATURE, WIND 03.3 SOUND'S PROPAGATION PHENOMENA_REFLECTION, ECHO, REVERBERATION 03.4 INTELLIGIBILITY AND SPEECH REQUIREMENTS 04. ARCHITECTURAL CHARACTERISTICS OF THE THEATRICAL SPACE 04.1 SCHEME OF THE ANCIENT THEATRE 04.2 REQUIRES OF THE SPECTATORS. COMPREHENSION 04.3 REQUIRES OF THE ACTOR. THE ENVIRONMENT 04.4 TEATRE OF TYNDARIS 5. RESEARCH METHOLOGY 05.1 FRANÇOIS CANAC'S RESEARCH 05.2 APPLICATION OF THE CANAC'S EQUATION FOR THE FORMULATION OF THE SCENERY PROPOSALS 05.3 ASSESSMENT OF THE "FINAL SCENERY" PROPOSAL 05.4 CONCLUSION AND GUIDELINES 06. ACOUSTICAL SIMULATIONS 06.1 TECNIQUES OF ACOUSTICAL SIMULATIONS 06.2 ACOUSTICAL OBJECTIVE PARAMETERS 06.3 Description and analysis of IN SITU acoustical measurements 06.4 THEATRE MODELLING 06.5 MODEL CALIBRATION 06.6 PARAMETER ANALYSIS 06.7 DIRECT TO REVERBERANT ENERGY RATIO_DRR 06.8 SIMULATIONS 06.9 RESULTS ANALYSIS 07. LISTENING TESTS 07.1 AURALIZED SOUNDTRACKS 07.2 TEST ORGANIZATION 07.3 RESULTS 08. CONCLUSIONS 09. GLOSSARY OF TECHNICAL TERMS 10. BIBLIOGRAFY
Bibliografia:	10. Bibliografy 1. Barkas, N. The acoustical Parameter of Ancient Greek Theater Design. Thessaloniki Greece : Monument & Environment, 1994. 2. Kang, K. Chourmouziadou & Jian. Ancient and Contemporary use of open-air theatres, s.I. : Dissertation for the Phd degree. 3. Bear, W. The Roman Stage_A short history of roman drama in the time of the republic. Methuen : s.n., 1964. 4. Easterling, P. E. The Cambridge Companion to Greek Tragedy. Cambridge : Cambridge Companions to Literature, 1997. 5. Theater, Greek, http://catalogue.pearsoned.co.uk/ . [Online] 6. Bieber, Margarete. The History of the Greek and Roman Theatre, s.I.: The Johns Hopkins University Press, 1961. 7. Moretti, Jean-Charles. The Ancient Theater_Article. s.l.: Myconiatiki, November 2000. 8. Antonucci, G. Storia Del Teatro Antico Grecia & Roma. Roma : s.n., 1997. 9. Paoli, U.E. Vita Romana. Firenze : s.n., 1962. 10. Paratore, Etttore. Storia Del Teatro Antico. Milano : s.n., 1957. 11. Savarese, N. Teatri Romani: Gli spettacoli Nell'Antica Roma. Bologna : II Mulino, 1996. 12. Sear, Fr. Roman Theater_An Architectural Study, s.l. : Oxford University Press, 2006. 13. Canac, Fr. L'Asoustique des Theatres Antiques. Paris : CNRS, 1977. 14. Haas, H. Influence of echo on speech understanding. Acustica, Vol. I, n2. 1951. 15. Spagnolo, Renato. Manuale di Acoustica. 16. Mazzeo, Antonella. La rinascita del teatro antico di Tindari. 17. Brea, L. Bernabo. Due secoli di studi, scavi e restauri del teatro Greco di Tindari. Riv. 1st.Arch. . 1964. 18. Buckler, C. Two Sicilian Skenai. 1992. 19. Cocchi, Alessandro. Theatre Design in Ancient Times: Science or Opportunity? Patra, Greece : The Acoustics of Ancient Theatres Conference Patras, September 18-21 2011. 20. E. Liepp. Qualites Acoustiques des Lieux d'Ecoute. Paris : CNRS, 1981. 21. N. Barkas, N. Vardaxis. Current Operation of Ancient Greek Theatres: The problem of Enviromental Noise, s.I. : The acoustics of Ancient Theatres Conference Patras, September 18-21, 2011. 22. Kuttruff, H. Room Acoustics. Elsevier Applied Science. 3rd edition. London, UK : s.n., 1991. 23. Savioja, Lauri. Modelling Tecniques for Virtual Acoustics. 1999. 24. A. Krokstad, S.Strom, and S. Sorsdal. Calculating the acoustical room response by the use of a ray tracing technique. J. Sound Vib. 1968. 25. Kulowski., A. Algorithmic representation of the ray tracing technique. Applied Acoustics . 1985. 26. C. L. Cristensen, G. Koutsouris. Odeon Room Acoustics Software Version 13.1. Full User's Manual. Lyngby, Denmark : Odeon A/S, 2015. 27. S. Cingolani, R.Spagnolo. Acustica musicale ed architettonica, s.I. : UTET, 2005. 28. Rindel, J.H. Echo problems in ancient theatres and a cmment to the sounding vessels described by Vitruvius. Patras : The Acustics of Ancient Theatres Conference, 2011. 29. E. Bo, L. Shtrepi, D. Pelegrin-Garcia, G. Barbato, A. Astolfi. Acoustical measurements in ancient theatrea: uncertabty in preiction models. Benevento : Metrology for Archeology, 2015. 30. Reichardt W., Sshmidt W. Die hörbaren Stufen des Raumeindruckes bei Musik (The audible steps of spatial impression in music performances), s.I. : Acustica 17, 1966. 31. E.Larsen, N. Iyer, C. R. Lansing, A. S. Feng. On the minimum audible difference in direct-to -reverberant energy ratio. s.I. : J. Acoust. Soc. Am. 124, July 2008. 32. P.Zahorik. Direct-to reverberant energy ratio sensivity. s.I. : J. Acoust. Soc. Am. 112, Nov. 2002. 33. A. Farnetani, N. Prodi, R. Pompoli. On the acoustics of ancient Greek and Roman theaters, s.I. : J. Acoust. Soc. Am., Vol. 124, No. 3, September 2008, 34. Wang, F. Mo and J. The Conventional RT is Not Applicable for Testing the Acoustical Quality of Unroofed Theatres, s.I. : Building Acoustics, Vol. 20, No.l, 2013 Pag. 81-86. 35. N.Prodi, A. Farnetani, R.Pompoli,P. Fausti. The Acoustics and architecture in ancient open air theatres, s.I. : Conference Patras, September 18-21, 2011. 36. E.Bo, A.Astolfi, L.Sthrepi, M. Rychtarikova, D. Pellegrin-Garcia, G.Genta. The acoustic influence of the scenery on the audience sound perception: the case of the ancient theatre of Syracuse, s.I. : FORUM ACUSTICUM 2012, Krakow. 37. S. Psarras, P. Hatziantoniou, M. Kountouras, N. Tatlas, J. N. Mourjopoulos, D.Skarlatos. Measurements and Analysis of the Epidaurus Ancient Theatre Acoustics, s.l. : ACTA ACUSTICA UNITED WITH ACUSTICA Vol.98 (2012). 38. Mpouras, Ch. The Ancient Theatres today: Monuments or live theatrical spaces? 25 July 1999 : Kathimerini. 39. Vovolis, Th. Mask, Actor, Theatron and Landscape in Classical Greek Theatre, s.l. : The Acoustics of Ancient Theatres Conference, September 18-21, 2011. 40 K. Moschos, G. Schubert. Proposals for the Improvement of Acoustics of Ancient Theatres, s.l.: The Acoustics of Ancient Theatres Conference Patras, September 18-21, 2011. 41. Izenour, S. C. Theatre Design. New York : Me Graw-Hill, 1977. 42. Iatrou, H.Blume_translation. Introduction of the Ancient Theater. s.l : Athens MIET, 1986

Modifica (riservato agli operatori)