By Phillip B. Thomason
The Coliseo de l. a. Cruz, the 1st smooth public theatre in Madrid, used to be developed among 1736 and 1737 at the website of the city's oldest everlasting playhouse, the Corral de los angeles Cruz, relationship from 1579. The corral, an open-air courtyard theatre, used to be surrounded through inner most packing containers in neighbouring homes [recently studied during this sequence via Charles Davis], which simply intermittently contributed to the municipal coffers; through 1736, furthermore, it was once decrepit and ill-suited to present staging requisites. some of these components led the town experts to switch it through an updated, absolutely self-contained theatre construction with a proscenium level. the recent coliseo used to be shaped within the Italian type, yet maintained many features of the corral theatres, equivalent to the cazuela [separate women's gallery], and persevered to draw a diverse viewers, representing nearly each point of Madrid society. It observed the 1st performances of a few of the best works of Spanish drama, resembling Zorrilla's Don Juan Tenorio, in addition to many who are lengthy forgotten. ultimately, in 1859, the Coliseo de los angeles Cruz, through now insufficient and in in poor health fix, used to be demolished to make room for an extension of the Calle de Espoz y Mina so one can alleviate traffic jam on the Puerta del Sol.
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Extra info for El Coliseo de la Cruz: 1736-1860 : Estudio y documentos (Fuentes para la historia del Teatro en Espana)
Sample text
De ancho, cuyo elemento más notable es una amplia curva que sobresale delante de la pared delantera de la estructura principal. Esta curva reproduce la de la pared exterior de la platea. ) de profundo en el centro (midiendo hasta el cara exterior de la fachada), y está dividida en tres zonas. ) cada uno, en línea recta. ) de ancho, según el alzado (6 pies según la planta), seguramente de dos hojas, aunque esto no se distinga en los dibujos. A cada lado de la puerta principal hay otras tres puertas, de las que dos dan a la zona lateral del primer zaguán, dentro de la curva, y la otra está en la parte recta del extremo de la fachada y da a una escalera.
Además, en los nuevos «pasos al anfiteatro», sobre todo el de la derecha, se distinguen las líneas correspondientes a las divisiones entre otros palcos superiores. Añadiendo otras, a intervalos más o menos iguales, en la parte central, acabamos con 15 palcos en total. Cada uno debía tener una puerta en la pared trasera, con un pasillo de acceso por el exterior. Todo esto se ilustra en la fig. 24, en la que se han añadido las paredes medianeras del teatro y la PHILLIP B. THOMASON 40 [4] curva exterior de la platea, cuya posición se estableció en nuestro análisis del solar (véase págs.
51, con una descripción que incluye lo siguiente: «Desde 1807 D. Angel [sic, por «Antonio»] María Tadey se ocupó de las decoraciones de telones para la pequeñísima escena de este teatro. En 1843 se realizan obras de remodelación, ampliando la escena. Este diseño de J. Avrial es posterior a esta fecha. Cortinas y columnas enmarcan, junto con las musas de la Poesía y la Música, una vista del Palacio Real de Madrid y de su entorno; sobre él, el escudo coronado de la Villa» (pág. 153). Sobre la reforma del escenario en 1843, véase doc.