| Title |
A Study about Transition History and Architectural Characteristics of the Chinese Traditional Performance Facilities |
| Authors |
Park Chang-Jun ; Han Dong-Soo ; Lim Jong-Yup |
| Keywords |
Theater ; Lutai ; Peng ; Goulan ; Xitai ; Stage Type |
| Abstract |
The Chinese traditional theater, formed with priority given to the “Xitai”, has formed a stage and a seat's space arranging method based on the “siting a stage southward and a stage facing northward-坐南面北", which follows the Chinese's own “Siheyuan-quadrangles-四合院” arranging method, and formed theater with diversity and multilateral character due to a “openness of spaces" of the “Xi Tai”. The “Xitai” is typically an “open stage" which 3 sides or 4 sides are open to an audience, and most of all attach great importance to “the connections to surrounding environment" and generally do not take account of a audience's seat space specially. A narrow interior seat space was expanded naturally to exterior space such as a square, a court, a vacant land of street, a “corridor" of surrounding buildings, and even a bridge, a pond, etc. This fact means that, in a theater composition, exterior is considered as interior by the openness of a stage, and surrounding environment is used with a stage as a central figure through an limited interior stage space being led to an unlimited seat space. In other words, the space composition method of “Xitai” emphasizes among ‘void vs solid’ and ‘dynamic vs static', and these diversity of space treatment is considered as a “Xitai” architecture's dynamic adaption to space. |