proscenium

/proh see"nee euhm, preuh-/, n., pl. proscenia /-nee euh/. Theat.

1. Also called proscenium arch. the arch that separates a stage from the auditorium. Abbr.: pros.

2. (formerly) the apron or, esp. in ancient theater, the stage itself.

[1600-10; < L proscenium, proscaenium < Gk proskénion entrance to a tent, porch, stage (LGk: stage curtain), equiv. to pro- PRO-² + sken(é) (see SCENE) + -ion neut. n. suffix]

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In a theatre, the frame or arch separating the stage from the auditorium, through which the action of a play is viewed.

In ancient Greek theatres, the proskenion was an area in front of the skene that eventually functioned as the stage. The first permanent proscenium in the modern sense was built in 1618 at the Farnese Theatre in Parma. Though the arch contained a stage curtain, its main purpose was to provide a sense of spectacle and illusion; scene changes were carried out in view of the audience. Not until the 18th century was the curtain commonly used to hide scene changes. The proscenium opening was of particular importance to 19th-century realist playwrights, for whom it served as a picture frame or an invisible wall through which the audience experienced the illusion of spying on the characters.

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▪ theatre

 in theatre, the frame or arch separating the stage from the auditorium, through which the action of a play is viewed.

      In the ancient Greek theatre, the proscenium (Greek: proskēnion) originally referred to a row of colonnades, supporting a raised acting platform (logeion), and afterward to the entire acting area. A proscenium in the modern sense was first installed in a permanent theatre in 1618–19 at the Farnese Theatre (Farnese, Teatro) built in Parma, Italy. It had been introduced as a temporary structure at the Italian court about 50 years earlier. Although this arch did contain a stage curtain, its main purpose was to provide atmosphere and a sense of spectacle, and scene changes were still carried out in view of the audience. It was not until the 18th century that the stage curtain was commonly used as a means of hiding scene changes.

      The proscenium's structure was first expanded by Squire Bancroft (Bancroft, Sir Squire) and his wife, Marie Bancroft, to enclose the lower side of the stage at London's Haymarket Theatre in 1880, creating a “picture frame” or an imaginary fourth wall through which the audience experienced the illusion of spying on characters behaving exactly as if they were unobserved. With the advent of electricity, the illusion was further enhanced by controlled lighting, which made it possible to darken the auditorium where the audience was seated and create the illusion for the spectator that he was not in a theatre.

      The proscenium theatre, though still popular in the 20th century (especially for large auditoriums), was supplemented by other types of theatres designed for fuller communication between actor and audience. Hence the revival of other, more intimate forms of theatre, such as the open stage and the theatre-in-the-round.

Additional Reading

Richard Leacroft and Helen Leacroft, Theatre and Playhouse (1984).

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