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Evidence of the progress of theatrical technique was found in the Exhibition in Vienna in 1924.
In the plans, sword-moulds and models, was struck a restless fantasy joined with a refined ingenuity. The essential characteristic was struggle with the traditional form of the stage, of the hall and of the theatrical building.
The curtain, jealously guarded for a long time, was suppressed by the reformers of the Russian theatre, at last this suppression provoked a distraction of the stage.
The inventors exhibiting in Vienna the sensational models don't introduce the curtain and they are tending to suppress the balustrade — this barrier which separates the hall from the stage, desiring in that way on the principle of uniting these till now separated parts, to efface the traditional limit between the stage and the hall.*
Thus in the " Railway theatre " of Kiesler the hall turns like a carousel round the " spacious stage " as in the model of Dr. Strnad where on the contrary we see the " circular " stage with the little stages surrounding the hall.
The stage is united completely with the hall.
These last years brought to theatrical building " Le Theatre de 1' Exposition des Arts Decoratifs " of the architects Perret and Granet a tripartite stage and the model of a theatre-circus of the German architect Gropius, who built especially for Piscatoi a moving arena with 3 stages.
These projects have been acknowledged as very adyantageous for application of technique to the modernising of the theatre.
We have just heard of a new project of the theatre prepared for the painter Pronaszko and the architect Syrkus.
The aim of these inventors was not only the realisation of the efforts of the architecture of theatrical technique, but also a trial of resolving the essential problems of modern theatrical art.
This model differs greatly from those of the existing traditional theatres. It is composed plastically of powerful blocks with great glassy surfaces and leans against a construction of steel and ferro-concrete.
It approaches the Greek and Japanese classical specimens in its simplicity and harmony deprived of every ornament.
It will be magnificent in its dimensions : the total will take up a space of 8000 m2., the front in height of 50 m., which makes about 12-15 storeys.
Many entrances, elevators, moving escalators will facilitate the access and the immediate exit from the theatre in case of fire.
The hall will contain 3,000 seats. The same vault embraces the hall and the stage, creating a sort of a large shell of an ideal acoustic effect. (Lyon's method realised in the construction of the Pleyel hall in Paris.)
* We can notice an analogy with the tendencies of modern oainting that passes from the easel — to the painting" of space r electing the artificial limit — frames; and tending to create a totality with the surrounding and to unite itself with the exterior world.