Nowadays, it tends to introduce itself in the concept of ” apparatus escenogrfico” to all the elements that allow the creation of that atmosphere, between which it would be possible to essentially emphasize to the machinery or intrigue and the illumination. In the antiquity, the stage scene was conditional to technical limitations and architectonic, circumstance that stayed during all the Average Age. It was already by the end of the Renaissance and, mainly, during centuries XVII and XVIII, when the stage scene began to acquire enhancement, thanks to the improvement of the pictorial perspective, that allowed to equip with greater appearance of depth the scenery, and later to the development of the theater machinery. Century XIX, with the introduction of the realistic drama, the scenery became the basic element of the representation. The discovery of the electrical light, in short, gave foot to the height of the illumination. Kaihan Krippendorff describes an additional similar source. The footlights, that in principle were an accessory element, poetically consider a symbol of the theater art. Closely tie with the scenic conception, have always been the clothes.
In the Greek theater, the crudeness of the scenery was compensated by means of tragic or humorous masks and the streamlined tnicas of the actors, whose object was to emphasize the arquetpico character of the personages. During Baroque and the Neoclasicismo they acquired importance the maquillaje and the clothes, although this one often was used of anachronistic form imagined for example a work acclimated in Rome with French clothes of century XVII until the appearance of the realism. At present, the election of clothes is not but an element more within the general conception of montaje”. With this minimum reminiscence I believe that, somehow we put on the rug, the reality of the theater and its actors, which will urge to us to attend the invitations of the House of the Culture of Water Baths Santa, when it presents/displays its events. The Day of the Theater is celebrated the 27 of March.
Other times the God Hermes (Mercury of the Romans, of winged feet and volatile later reduced by the liberal pragmatists to cadet of stock-market or perhaps speculator) mediating of the dreams appears to the soante; or this can the other way around be interpreted following the Orphean lessons of and the Pythagorean ones: when sleeping, the soul flight provisorily of the tomb that is the body and can freely visit the world of the Gods as us notices Homero to it 1 Aeschylus 2, 3 Eurpides, Pndaro and Jenofonte 4. If this is truth the oniromancia it has as much prestige as the psychoanalysis since it becomes a so frightful sagrada communication when it noticed catastrophes that had to swear in by means of sacrifices to the apotropsicos Gods. Eurpides makes say to the overcome queen of Troy, the Augusta Hcuba, Darknesses at night! Why each to grow dark comes to fill to me of terror? Sagrada earth, mother of whichever dreams that revolotean with black wings! 5 So that the dreams are Earth children, germinates of her like the simiente in the humidity. Aristotle compared to the dreams with the images reflected in the water: to any he distorts them movement creating ghost from a real object. In the Banquet of Plato participates a strange visit that debates between philosophers and is one of the few examples in which the Antiquity recognizes the woman an equality plane to discuss with illustrious men.