Revolving stage

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A revolving stage is a mechanically controlled platform within a theatre that can be rotated in order to speed up the changing of a scene within a show. A fully revolving set was an innovation constructed by the hydraulics engineer Tommaso Francini for an elaborately produced pageant, Le ballet de la délivrance de Renaud, which was presented for Marie de Medici in January 1617 at the Palais du Louvre and noted with admiration by contemporaries. Such a stage is also commonly referred to as a turntable.

Kabuki theatre development[]

The first major use of revolving stages began in Japan during Kabuki performances. In the 1750s, Namiki Shōzō, previously just known for his work as a theatrical dramatist in Japan, introduced a stage design known as a "mawari butai". The literal English translation is "revolving stage"; however, the denotation is quite different from the modern understanding of the word. Initially, the stages were wheeled circular platforms that were fixed on a stage and turned manually. A wall running through the diameter of the circle allowed a quick reveal of other Kabuki performers and chanters. Although the platform did indeed revolve, the problems of visual scenic changers still hindered the spectacle. Through trial and error methods involving the issues still at hand in the Kabuki theatre, the platform eventually became flush with the immobile sections of the stage. This in turn placed the mechanism below the stage and hid the manual labor. After this downward shift, the manual technology only increased. One circle, in the 1820s in Japan, was placed inside another circle and was used for various transitions. Some special effects included one boat passing another by the two rings turning against each other. This was just an example of many tricks that the Kabuki theatre developed. Revolving stages were a huge step towards the stylized form Kabuki theatre is known for today. They made it possible to depict supernatural transformations and use more creative entrances and exits. Modern Kabuki theatre companies still employ a revolving stage but in a much smaller capacity. For the most part, the wall on the circle is flush with the wall behind the chanters, and a rotation is used to allow new head chanters to be revealed seamlessly.

Japance influence on the West[]

Invented for the Kabuki theatre in Japan in the 18th century, the revolving stage was introduced into Western theater at the Residenz theatre in Munich in 1896 under the influence of japonism fever. The Japanese influence on Germman drama first appeared in stage design. Karl Lautenschlager adopted the Kabuki revolving stage in 1896 and ten years later Max Reinhardt employed it in the premiere of Frühlings Erwachen by Frank Wedekind. Soon this revolving stage was a trend in Berlin. Another adaptation of the Kabuki stage popular among German directors was the Blumensteg, a jutting extension of the stage into the audience. The European acquaintance with Kabuki came either from travels in Japan or from texts, but also from Japanese troupes touring Europe. In 1893, and his troupe of actors arrived in Paris, returning again in 1900 and playing in Berlin in 1902. Kawakami's troop performed two pieces, Kesa and Shogun, both of which were westernized and were performed without music and with the majority of the dialogue eliminated. This being the case, these performances tended toward pantomime and dance. Dramatists and critics quickly latched on to what they saw as a"re-theatricalization of the theater." Among the actors in these plays was Sada Yacco, first Japanese star in Europe, who influenced pioneers of modern dance such as Loie Fuller and Isadora Duncan, she performed for Queen Victoria in 1900, and enjoyed the status of a European star.^[1][2]

Early western development[]

The first modern revolving stage in the western world was built by (1843–1906) in 1896 in Munich, Germany. Lautenschläger studied under Carl Brandt at the court theatre in Darmstad. From there he went to Munich, where he worked for 22 years and became the head machinist at the Royal theatre. He is known for his revolving stage, sometimes called the Lautenschläger stage, which later acquired the legacy of being called the new Shakespeare stage. The stage was installed at the Residenz Theatre for a performance of Don Giovanni, an opera by Wolfgang Mozart. The revolve at the Residenz Theatre was fifty feet in diameter and was raised slightly off of the regular stage floor. With the proscenium, a little less than a fourth of the revolve was visible to the audience. Lautenschläger used electricity to power the turntable, with the table turning on rollers, which ran on a circular track. This particular revolve was split into quarter sections and allowed four scenes to be set at the top of the show. The revolving stage allowed for depth, like landscapes with views in the distance and a more three-dimensional set in front of the walls of the revolve.

For theatres like the Dresden, that did not have an underside to their stage, each sector of the revolve would have two wheels operating directly on the stage floor and propelled by a small motor fixed to the underside of the turntable. Some revolves had only two separate sections while some had as many as seven. Not all sections had to be split into equal proportions. Sections could be very shallow or very deep, according to what the scene required. Rectangular sections were even used many times for indoor scenes. Some revolves had sections that connected to each other to give the appearance of travel and help give the set perspective. Eventually traps, elevators and revolving stages combined in some theatres. The individual sections of the turntable could be lowered and raised to and from underneath the stage to make scene changes even more efficient.

In 1889, the Munich court theatre hired Lautenschläger to design a stage that was more efficient for Shakespearean productions, which required many changes of scenery. His revolving stage seemed to be the perfect solution. Other theatres and other companies performing Shakespeare quickly began to use the revolving stage, and it started to become known as the new Shakespeare stage. This was probably the biggest role for the revolving stage in its history.

Pros of early western designs[]

• As a designer lays out the taverns, houses, and cobblestone streets to have sectioned off on the circular set, he could imagine an actor walking from one location to the next as a part of the scene. Some directors even employed the rotation of the stage with a purposeful view from the audience allowing them to see the characters walk from one setting to the next.
• The sectioned design created wall structures to build usually costly sets on. The structure provided for much more interesting scenic designs, especially when concerning the outdoor hills and mountains. The angled frames of the stage dividers were often used to support tree structures or tall rolling hills.
• Time was the biggest problem solved by the revolving stage. There was a particular problem with Shakespearean plays that required so many changes of scenery that some runs were as long as one could imagine a 20-act play would be. Using the revolving stage, the scene changes were a fraction of their previous length. It only took the time to rotate a 1/4 or even a 1/6 way around the circular stage.

Cons of early western design[]

• Angled walls often provided a problem. It was impossible, as a scenic designer, to incorporate a horizon for anything on stage because there was no such back wall to support the perspective of it.
• The height of certain sets in certain sections proved to be an issue as well. When large buildings or tall constructions of the inside of a house were built in one section, they generally exceeded the length of the framing walls. When the stage spun, the audience could then see the buildings in other scenes. This would offset other places such as the inside of a house or a wide-open field.
• The vibrations from the early designs of the mechanical revolving stage were off-putting in an auditorium.

Present-day use[]

Revolving stages are still in use in theater, but benefit from the rise of automation in scenic design. The use of a revolving stage in the original staging of Cats was considered revolutionary at the time,^[3] with a section of the stalls mounted onto the revolve as well.^[4] The original London staging of Les Misérables is one of the most notable modern uses of a revolving stage, considered "iconic";^[5] it made sixty-three rotations in each performance.^[6] Director Trevor Nunn's decision to use the feature was informed by the need for rapid changes of location, especially in light of scenes added to the musical in its adaptation from the original French version.^[7]: 75 The turntable also provided "cinematic" changes of perspective on a scene, and, crucially, permitted the cast to walk against the revolve for dramatic motion.^[7]: 98 Double-rotating stages, known as a concentric revolve, have also been used in theater productions such as Hamilton. Having one revolving stage inside of the other allows for more flexibility by allowing each to rotate in different directions or at different speeds.

Other uses[]

Today revolving stage are primarily used in marketing and trade shows and constructed in a modular design that can be set up and taken down quickly in different types of venues. Driven from the central core or indirectly from an external hub, these stages take advantage of rotating ring couplers to provide rotating power to the stage deck so there is no twisting of power cords or need to reverse the stage. In many cases the stage is left rotating for days at a time, carrying a load up to an SUV.

The revolving stage is also sometimes used at concerts and music festivals, especially larger ones, to allow one band to set up and check their equipment while another opening band is performing. This allows for a much faster transition between an opening band and the next one on the lineup.

A notable revolving stage show that is used for the concept for Walt Disney's Carousel of Progress in Tomorrowland at Magic Kingdom in Walt Disney World Resort in Bay Lake, Florida just outside of Orlando Florida, where the stage remains stationary while the auditorium revolves around it.

See also[]

• Stagecraft

References[]

General references[]

• The American Architect and Building News. Volume 53. Boston: American. Architect and Building News Co, 1896.
• Ackermann, Friedrich Adolf. The Oberammergau Passion Play, 1890. Fifth Edition. Munich: Friedrich Adolf Ackermann, 1890.
• Fuerst, Walter René and Hume, Samuel J. Twentieth-Century Stage Decoration. Volume 1. New York: Dover Publications, 1967.
• Hoffer, Charles. Music Listening Today. Fourth Edition. Boston: Schirmer Cengage Learning, 2009.
• Izenour, George C. Theater Technology. New Haven: Yale University Press, 1996.
• MacGowan, Kenneth. The Theatre of Tomorrow. New York: Boni and Liveright, 1921. Print.
• Ortolano, Benito. The Japanese theatre: from shamanistic ritual to contemporary pluralism. Princeton: Princeton University Press, 1990.
• Randl, Chad. Revolving architecture. New York: Princeton Architectural Press, 2008. Print.
• Sachs, Edwin. Modern Theatre Stages. New York: Engineering, 1897. Print.
• Vermette, Margaret. The Musical World of Boublil and Schönberg: The Creators of Les Misérables, Miss Saigon, Martin *Guerre, and The Pirate Queen. New York: Applause Theatre & Cinema Books, 2006.
• Williams, Simon. Shakespeare on the German stage: 1586–1914. Volume 1. Cambridge: Cambridge University Press, 1990.
• WPG, . The Revolving Stage at the Munich Royal Residential and Court Theatre. New York: American Architect and Architecture, 1896. Print.