"Operatic performance seeks to compress a multitude of specific art
mediums into a single temporal experience; poetic narrative, dramatic
performance, music (both vocal and orchestral), costume, lighting, stage
and scenery design. But, to go to the opera is much more than just the
performance itself. It involves all of the preliminary anticipatory
experiences of the opera house. The entries, lobbies, stairways, foyers,
bars and restaurants are an integral part of the opera event."
"This is where the architecture of the opera house
becomes a crucial piece in a larger performance; a social, cultural and
aesthetic performance. Cultural institutions such as theaters,
performance halls, museums, and operas provide and provoke much more
than just a functional display of artwork. They are participatory pieces
in the complexity of societal relations, both in the direct experiences
of each patron, and through the larger urban and cultural conditions
that surround the building. The opera, as a cultural hub, becomes a
beacon that simultaneously draws people in while projecting identity
out.
We have responded to this challenge by
making three specific interventions into the opera house organization:
First, the hierarchically striated auditorium seating staggers and
compresses to become more intimate, egalitarian and experiential;
second, the promenade of foyer/circulation is elongated into a
mediating space for the participatory act of anticipatory congregation;
and lastly the pragmatic cruciform of performance stage and side stages
become permeable, editable and adaptable by taking on exhibition
programs as seasons and schedules permit."
text and images ©Young & Ayata
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