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Baldassare Peruzzi and Theatrical Scenery in Accelerated Perspective

机译：Baldassare Peruzzi和戏剧风景加速透视

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From the early sixteenth century, stage sets in the Italian theatre were constructed inaccelerated perspective. The stage and scenery were shallow, but the sets give illusions of much deeper spaces-typically piazzas and receding streets surrounded by buildings. The best-known example is Sebastiano Serlio's temporary theatre of 1539 described in his second book onArchitecture. This paper argues that the accelerated perspective scene was first introduced by Serlio's master Baldassare Peruzzi for productions of the comedyLa Calandriain 1514 and 1520, and then forLe Bacchidiby Plautus in Rome in 1531. Detailed working drawings survive for the set ofLe Bacchidiand are used here for the first time to explain Peruzzi's method by constructing a scale model, giving a vivid sense of how the illusion worked and would have appeared to the audience. It is suggested that Peruzzi was inspired in part by the architectural backgrounds of a number of fifteenth-century paintings. His invention had a profound influence on stage design for the next two centuries, as shown by surviving sets and handbooks of stagecraft.
机译：从十六世纪初，意大利剧院的舞台套装被构建了陷入困境的观点。舞台和风景很浅，但该套装呈现出更深的空间的幻想 - 通常是广场和后退的街道被建筑物包围。最着名的例子是Sebastiano Serlio的临时剧院为1539年，在他的第二本书上描述了。本文认为加速的透视场面是由Serlio的Master Baldassare Peruzzi引入了Comeyyla Calandriain 1514和1520的制作，然后在1531年在罗马抛出了Bacchidiby Plautus。详细的工作图纸在这里使用的套房储存首次通过构建规模模型来解释伪装的方法，给人一种生动的幻觉如何工作，并且已经出现在观众上。有人建议普鲁佐是部分受到一些十五世纪绘画的建筑背景的启发。他的发明对接下来的两年内的舞台设计产生了深刻的影响，如斯蒂图的幸存和手册所示。

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