The modern space for the show as a process from the urban fabric

The presented study aims to reconstruct by means of major events the process of formation that is at the base of significant theatrical architectures in the national scene, to propose, by putting the observations into a unique system, a new way of reading the object: the modern space for the show, no longer regarded as a classical direct derivation, but rather as a result of the transformations of the fabric of our towns. It is therefore necessary to describe, after the large caesura with classicism, both the “landing” to the modern theatre as a building and the evolution of its characters over time. The following text will be based on specific case studies, focusing on the process and not on an exclusively chronological order. The first problem with which you come up against by undertaking the mentioned path is related to the almost total absence of direct testimonies of the modern space for representation. Generally few modern theatres have survived throughout the country, and almost all date back to before the 15th-16th centuries. Therefore, the recourse to indirect sources is fundamental; in this case, attention is given to the particularity of representing an object, as the theatrical venue is, which in turn is intended for representation. Finally, another area that orients the research is the non-concrete sources, such as the very few theatres of the past centuries still standing, and not figured, like the kinds of representation mentioned above. There are numerous descriptions in the chronicles, in the accounting records, in the documents of property etc. from which it will be attempted to derive in some cases possible figurative interpretations. Methodologically the study refers to an interpretation of architectural design as closely related to the intentional and critical identification of typological processes. Once the typological process has been obtained from the building, the action of the designer should be adapted to the becoming. The reading of the project is, equivalently, an essential critical moment, based on the built reality, whose structure must be recognized from time to time in its manifestations. Therefore convinced of the perfect equality of reading and writing, the experiential, experimental and comprehension aspect plays an essential role for the proposition of an original interpretative line of the theatrical organism.