Nicola Sabbatini

Nicola Sabbatini , also known as Niccolò Sabbatini , Nicola Sabbattini , Nicola Sabbattinis , (* 1574 in Pesaro ; † December 25, 1654 there ) was an Italian architect, engineer and pioneer in the technology of stage machinery . His works are fundamentally different from the works of his colleagues. His book "Pratica di fabricar scene, e machine ne'teatri" is an important source in the world of stage machines .

Life

Nicola Sabbatini was born in Pesaro in 1574 as the son of the master Simone (his mother's name is unknown). Sabbatini grew up in a cultivated and elegant family environment. He had the privilege of studying mechanics, engineering, civil and military architecture at the famous school of the mathematician Guidobaldo del Monte . He completed his professional training under the direction of the ducal architect Girolamo Arduini, who was an expert in mathematics and military architecture. Sabbatini worked in the service of the church prince Hieronimo Grimaldi. Sabbatini died in Pesaro on December 25, 1654.

Works

Title page: Pratica di fabricar scene, e machine ne'teatri by Nicola Sabbatini

Nicola Sabbatini's work consists of two books. The first book by Nicola Sabbatini was published in 1637, followed by the publication of the second volume in 1638. His writings are at the beginning of the great architectural and theatrical technical compendia that emerged in the seventeenth century. The work of Sabbatini allows the reader a glimpse behind the scenes and revealed secrets about the necessary techniques of stage design. Sabbatini treated and analyzed the transition from scenes of the machine . It is particularly noteworthy that Sabbatini was not a theoretician, but based on the practice that Pratica wrote.

Under scenen Sabbatini sees the stage as visual space, an imaginary city. That's where the comedy takes place. Under machine Sabbatini understands the moving decor, which is used to stage design.

Sabbatini's work was written in Italian and translated by Willi Flemming. According to Willi Flemming , Nicolà Sabbatini's work “Pratica di fabricar scene, e machine ne'teatri” does not contain any innovations. On the contrary, Flemming describes the techniques presented in the work as average. Contrary to the opinion of Flemming, the entire work is regarded as very valuable in current literature, both today and for that time. Contrary to the works of that time, Sabbatini's work was structured like a textbook.

The first book deals with the problems of theater construction, the arrangement of the audience, the set-up of the scene, the setting and the lighting. Sabbatini particularly goes into perspective. It is important to him that sufficient attention is paid to the ducal seat.

In his opinion, the second book deals with the important subject of the interlude. The main thing is to change the set between the different acts so that it fits the next act. Devices to move the scene and create the special effects are required. His contemporary Sebastiano Serlio, however, was of the opinion that it would not be necessary to change the scene during the nudes. Despite the criticism of Sabbatini's approach, the devices for spectacular entertainment established themselves.

In his work Sabbatini not only dealt with the stage presentations and theater machines that he considers useful, but also deals with the complete handling of the existing constructions of theater art. Sabbatini writes in Chapter 28 of the first book on the subject of “How to draw several streets with one or more vanishing points on the background.” Here Sabbatini explains that there are some colleagues who draw several streets in the background, but he does Kind of representation doesn't hold up very much.

Here you can see an image section from Chapter 28.

“Some show more than one street in the background with one vanishing point or with several, really a thing that I can't approve of after all. For even if one can believe that it makes the scene appear more spacious, it takes away much of its depth. Because the houses and streets are so small that they resemble, as they say, a swarm of mosquitoes. ”- Nicola Sabbatini translated by Willi Flemming. P. 200f.

meaning

Change of scene

Sabbatini describes in his second book different ways how a scene can be changed. Four types of change are to be emphasized:

Roll-up curtains: There are two ways to bring the curtain onto the stage. On the one hand, the curtain is lowered from above and, on the other hand, it is pulled up from below. Sabbatini describes that the curtain should fall evenly so as not to disturb the astonishment and amazement of the audience.	Corner scenes: Various flat panels are attached to houses on the stage that can be rotated like a book. After the rotation, a new set appears.	Portcullis : Here rollers are attached under the stage and brought onto the stage through the use of counterweights. With portcullis it is just as important as with curtains that action is taken quickly and at the same time.	Periacts : These are triangles that can be rotated using cranks below the stage. The same applies here as for curtains and portcullis.

Cloud machines

Sketch of a cloud machine by Nicola Sabbatini.

The end of the second work is largely about how the sky can be decorated with clouds. Sabbatini divides the sky into different parts and deals with the most diverse possibilities "how one can gradually let a part of the sky become cloudy". Sabbatini presents different forms of machines, on the one hand with different gear wheels, which are responsible for the fact that the clouds come from the back of the stage to the front. Sabbatini also describes a form of cloud on which people could stand and be transported. Sabbatini describes again that the people responsible for clouds and wind have to work at the same time, should be careful that the cloud does not become overweight. The cloud machines were very popular in the theater and symbolized the unattainable or unbelievable, such as God.

Architectural participation

Sabbatini was in the service of Francesco Maria II della Rovere the Duke of Urbino. The first architectural work attributed to Sabbatini was the chapel of Santa Maria delle Grazie in Pesaro in 1598. In 1612 he was given the task of restoring the port of Pesaro. In 1615 the duke ordered the rebuilding of the side palisades along the Foglia river . The construction of the new Medici apartment should also be emphasized . The Chiesa del Suffragio in Pesaro, built in 1627, is attributed to Sabbatini. From 1630 he constructed court buildings in Pesaro.

In 1637 Sabbatini was commissioned to build and furnish the Teatro del Sole in Pesaro . His “Pratica” also emerged from this commission.

Importance of the work

The Pratica heralds the spirit of a new era, Sabbatini took over the achievements of the Renaissance stage and further developed the techniques, which were particularly focused on creating illusions and the mobility of the stage elements. Both aspects are part of the baroque stage structure. The technology of the scenery stage, however, is not mentioned in his work, even if it was fully developed as early as 1606. The Pratica is also known as the transition from Baroque to Renaissance. Sabbatini emphasizes in his work how many elements of baroque stage art were already laid out in the Renaissance stage, but also which tendencies are developing.

Sabbatini's “Pratica” makes a significant contribution to research into the stage machinery of the Baroque. Its detailed presentation makes it possible to understand how theater art worked in the early modern period.

literature

• Cristiano Marchegiani: Sabbatini, Nicoló, Dizionario biografico degli Italiani. Volume 89, 2017.
• John H. Mcdowell: Nicola Sabbatini . In: Bernard Hewitt (Ed.): The Renaissance Stage. Documents of Serlio, Sabbattini and Furttenbach. Florida 1958-
• Ulrike Haß: The drama of seeing. Eye, gaze and stage shape. Munich 2005.
• Nicola Sabbattini: Instructions to make decorations and theater machines . Ravenna. 1637.
• Manfred Brauneck: History of the European Theater. Stuttgart. 1993.
• Horst Zielske: Location and stage design in the 17th century: Investigations into the representation of space in European baroque theater. Ch. Schon printer, 1965.
• Nicola Sabbattini: Pratica di fabricar scene, e machine ne'teatri . Ravenna 1638.
• Manfred Brauneck: History of the European Theater. Stuttgart 1993.

Web links

Commons : Nicola Sabbattini  - collection of images, videos and audio files

Individual evidence

1. ↑ ^{a b} Cristiano Marchegiani: Sabbatini, Nicoló, Dizionario biografico degli Italiani. tape 89 , 2017, p. 426-428 .
2. ↑ ^{a b c} John H. McDowell: Nicola Sabbatini . In: Bernard Hewitt (Ed.): The Renaissance Stage. Documents of Serlio, Sabbattini and Furttenbach. Florida 1958, p. 37 .
3. ↑ Ulrike Haß: The drama of seeing. Eye, gaze and stage shape. Munich 2005, p. 323 .
4. ↑ Ulrike Haß: The drama of seeing. Eye, gaze and stage shape . Munich 2005, p. 325 .
5. ↑ Nicola Sabbattini: manufacture instructions decorations and theater equipment. 1637, p. 9 .
6. ↑ Ulrike Haß: The drama of seeing. Eye, looks and stage shape. Munich 2005, p. 324 .
7. ^ Manfred Brauneck: History of the European theater. Stuttgart 1993, p. 17 .
8. ↑ John H. McDowell: Nicola Sabbattini . In: Bernard Hewitt (Ed.): The Renaissance Stage, Documents of Serlio, Sabbattini and Furttembach. Florida 1958, p. 39 .
9. ↑ John H. McDowell: Nicola Sabbattini . In: Bernard Hewitt (Ed.): The Renaissance Stage. Documents of Serlio, Sabbattini and Furttembach. Florida 1958, p. 40 .
10. ^ Horst Zielske: Location and stage design in the 17th century: Investigations into spatial representation in European baroque theater. Printer Ch. Schon, 1965, p. 143 .
11. ↑ Nicola Sabbattini: Pratica di fabricar scene, e ne'teatri machine . Ravenna 1638, p. 60 ff .
12. ↑ Nicola Sabbattini: Pratica di fabricar scene, e ne'teatri machine . Ravenna, S. 38 .
13. ↑ Ulrike Haß: The drama of seeing. Eye, looks and stage shape . Munich 2005, p. 342 ff .
14. ^ Manfred Brauneck: History of the European theater. Stuttgart 1993, p. 17 .