Raymond A. Smith Collection
University of Kentucky
Department of Theatre
Lexington, KY
This site was designed and created by Nelson Fields, Associate Professor of Theatre, University of Kentucky.
Dr. Rhoda-Gale Pollack, Professor of Theatre, University of Kentucky researched and wrote the commentary accompanying the images.
To view each model, click on the highlighted text below.
In some instances there may be more than one view.
It is our hope that this images may be of use to those of you interested in the Federal Theatre Project, theatre design, or anyone interested in theatre history. If you have information about any of these images or this project of the FTP or WPA, please feel free to e mail me and let me know. I will be glad to update the site with any pertinent information. Contact me:
"The following descriptions relate to the photographs of the models rather than based after viewing the models themselves. We do not know if these models still exist and since the name/credit plates are not visible in all the photographs, we do not know who created these model stages. Several of the photographs have the name of the theatre or stage written by hand on the backs of the photos. In a few cases the stage/theatre is dated. The dates are not always accurate. The dates given in the written descriptions are ususally the established ones unless there is commentary about it. Sometimes the names are not accurate. We did not know that the Federal Theatre Project included this type of work and wanted to share the bit of information we have about it in the hope that it would be useful for research purposes."
Greek Theatre - 4th century BC (338-326BC)
(Photograph not dated and identified only as GREEK THEATRE)
This may be a model of the Theatre of Dionysus in Athens since it shows the carved seating located between the orchestra (dancing space about 60-70 foot diamter) and rows of tiered stone seats forming the theatron (the seeing place). Also it illustrates an enlarged skene (stage house with facade of palace) that was added to this theatre in the first century AD. The model clearly shows how the theatron was set into a hillside. The theatre seated 14,000 to 17,000 person, but it is currently believed that there were two more complete tiers of multiple rows added to the theatre. Notice that the theatron and the skene are two separate architectural units.
(Photograph identified on back in pencil as "Roofed Lyric Theatre 81 BC" A card board sheet enclosed with the photographs identifies this theatre as Roman.)
This model is a mystery since it was not does not represent a typical Roman style theatre. The Romans often reused Greek theatres as performance spaces or created temporary wooden theatres. It was not until 75 BC that the first purely Roman theatre was built and it was located in Pompeii. In 55 BC the first permanent theatre was built in Rome. Roman theatres in this time did not have the type of roof shown on the model. The theatres had roof-awnings (vela) to protect the spectators from the heat and the glaring sun. The stage house (scaena) was different than the one in the model since it was typically joined with the seating to form a single architectural unit the same height all the way around the semicirclular seating and the rectangular stage. These theatres were not enclosed in another geometrical shape such as one sees in the model. The stages were generally 20 to 40 feet in depth and 100 to 300 feet in length. The facade of the scaena had three to five doors and was decorated with columns, niches, porticos, and statues.
(These are two different views of the the Roman Theatre)
Roman Theatre Detail 1, interior from above
Roman Theatre Detail 2, same different angle showing more of the exterior
Commedia dell'arte - beginning in the 16th century
(Photograph not identified in any way)
The troupes of actors forming commedia dell' arte groups traveled constantly about the countryside and performed in every town they visited. As a result of their nomadic lifestyle, it was necessary for each troupe to have with it a simple portable stage which was housed in a cart together with costumes, curtains, and properties. The stage was built so that the platform was on a level with the eyes of a man who was standing. There were curtains from the platform to the ground on all sides either to hide storage items or to stage special effects from underneath the stage. The model shows a cart and a crudely structured platform stage without curtains. It is displayed next to a tree that could provide some shade for the players. Eventually the major Commedia troupes played in the new theatres built during the late 16th century (Italian Renaissance).
Passion Stage at Valenciennes - 1547
("Passion Play at Valenciennes" is written on back of photograph.)
This stage was set up in the courtyard of a private residence. It was a typical long rectangular platform-stages were between 100 to 200 feet long. Fixed locations were the Heaven mansion on the left(east) and the Hell mouth at the right (west). The earthly locations (mansions) were placed between these two and were changed each day as different locations for the drama were needed. Twenty-five days were required to perform the entire passion play. A manuscript illumination is at the BIBLIOTHEQUE NATIONALE, Paris.
Medieval Mystery Stage - 15th century
(Nothing indicated on photograph other than identification label that is readable on model.)
The source for this model is not obvious since it is now known that Medieval Mystery Plays (Pageants/Cycles) were usually performed on pageant wagons similar to the one illustrated in the model for the Commedia Dell Arte. This model may have been inspired by the later performances (16th century) of non religious plays staged in the great halls of manors and palaces where a stage was created at one end of the space. The model has several elements of the later Elizabethan Public Theatre stage such as the "Inner Below" area with bars separating it from the main acting area, the two curtained acting areas on either side of the Inner Below, and the acting area above the stage where the scene of the LAST SUPPER is set. This is of course just conjecture at this point.
The Swan Theatre - 1595
(Label seen in photograph is only information.)
This London theatre is of special importance since a drawing by Johannes de Witt, a Dutch visitor and copied by Arend van Buchell, of this theatre provides the only Elizabethan image of the interior of an open-air playhouse. The scale is distorted making it difficult to determine the dimensions of the various elements; however, it provides the only record of a "tiring house" facade. The drawing has an accompanying descriptive passage: "Of all the theatres, . . . the largest and most magnificent is . . . the Swan; for it accommodates . . .three thousand persons. . . . (It is) supported by wooden columns painted in such excellent imitation of marble that it is able to deceive even the most observant . . .its form resembles that of a Roman work (theatre). . ."
The Fortune Theatre - 1600
(The label is evident in the photograph and written on the back " Constructed by Farrand Watkins and A. T. Gilbert.")
This London theatre was build for the Admiral's Men. A builder's contract for this playhouse was the primary source of information until 1990's archaeological discoveries provided additional information. The contract mentions that the structure was of timber and was 80 feet square. Its roofed galleries were three stories tall surrounding an open yard that was 55 feet square. The first gallery was 12 feet high, 11 feet for the second, and 9 feet for the third. The stage was 43 feet wide and it extended to the middle of the 55 foot yard. The Fortune was destroyed in 1621 by a fire. It was rebuilt of stone and seems to have been round in shape rather than square.
The Olympico Theatre (Teatro 0lympico) - 1585
(Identification label on one photograph gives basic information. The other views are identified on the back of each photo.)
Designed by Andrea Palladio (1518-1580) , but following his death the project (1580-84) was completed by designer Vincenzo Scamozzi. It is the oldest surviving Renaissance theatre and it was built by the Olympic Academy ofVicenza (Italy). The project was to recreate a classical theatre in a preexisting hall. The theatre has thirteen ovoid tiers of seating around a small orchestra, that is backed by a seventy foot long by eighteen foot deep stage. A decorated facade encloses the stage at the back and ends with five openings, one at each side of the stage and three in the rear. Behind each opening is a street scene built in perspective to create the impression the stage is a city square into which a number of streets lead. The overall effect is a miniature Roman theatre placed indoors. After a few productions this theatre was virtually abandoned; however, it has been reopened in modern times and productions are staged there currently.
Olympico Theatre Detail 1, showing complete interior
Olympico Theatre Detail 3, showing auditorium
Olympico Theatre Detail 4, rear view exterior
Richelieu Theatre - 1641
(The labels on several of the photographs are readable. These models were constructed by A. T. Gilbert and F. Watkins. This theatre is identified on back of photographs as the Richelieu Theatre.)
Cardinal Richelieu, who was King Louis XIII' s Prime Minister, had the architect LeMercier design in the Cardinal's palace the first permanent proscenium arch theatre in France. It was designed to use flat wings that were popular in Italy. The theatre, called the Palais Cardinal, had a stage 59 feet wide by 46 feet deep. Two undivided galleries surrounded the hall and most of the ground floor was taken up by an amphitheatre that rose in steps from a small pit. This theatre was intended to be used for private performances presented to invited guests; therefore, it did not follow the seating arrangement used in the public theatres. Following Richelieu's death in 1642, the theatre was under the control of the crown and renamed the PALAIS ROYAL. This theatre was redesigned and re-equipped in 1645 to accommodate new scenic techniques invented in Italy.
Richelieu Theatre Detail 1, model opened, showing complete interior
Richelieu Theatre Detail 2, foyer entrance from the Palais Royale
Richelieu Theatre Detail 3, view of the stage
Munich Art Theatre- Theatre constructed sometime after founding of the ensemble in 1907.
( Identification label visible in photograph. Farrand Watkins is identified on label as "Craftsman" and Curilla Lindne (a last letter in name may be obscured) as Research Supervisor.)
George Fuchs and Fritz Erier, co founders of the Munich art Theatre in 1907, wanted their new theatre to meet the needs of modern humanity and they believed pictorial illusionism was outmoded. Their slogan "retheatricalize the theatre" governed Max Littmann while he designed a new theatre for the pair. It had an auditorium and sunken orchestra pit similar to those at Wagner's theatre at Bayreuth (1876); however the stage was markedly different. The acting area could be extended over the orchestra pit bringing the actors closer to the audience. There was an adjustable inner proscenium, containing a door at stage level and a balcony above. The stage floor was made in sections, each of which was mounted on an elevator that allowed the stage floor to be arranged in various levels. The stage was backed by four cycloramas, each a different color, that could be changed electrically. The aim was to have the performers close to the audience and to frame the players against a simplified background.
(Title identified in hand writing on back of one photograph. No additional information found to identic these carts more specifically.)
Chinese Theatre - 17th to 20th century
(Chinese Theatre written on back of photograph.)
This model appears to be a representation of a traditional Chinese theatre located inside teahouses or outside on the grounds at temples. The attributes that both types of theatres share are seen in the model such as having an almost square stage covered by a roof supported by lacquered pillars. The stage stands a few feet above the ground and is surrounded by a low wooden balustrade about two feet high. At the rear right and left of the stage are two doors usually hung with embroidered curtains, the left for entrances and the right for exits. Between the doors hangs a large embroidered curtain, usually crimson, called the ta chang, or great canopy. The theatres in the teahouses used the spaces at the side of the stage often placing tables at which the true lovers of the theatre sat. After the 1911 revolution, this style of traditional indoor theatre was no longer used and Western style proscenium stage was introduced.
