The Theatre in Italy in the 17th century / Performance venues       Performance venues In Italy, the Renaissance represents a total break with the Middle Ages and a return to the sources of Antiquity, which directly inspires the theatre and, more especially, its architecture. At the time the Italians are passionately fond of the antique scenic conception and rediscover Vitruvius who, in the third century AD, wrote a treatise dedicated to theatrical architecture entitled De Architectura in which he describes the ideal Greek theatre. This work includes no illustration, and is the cause of numerous quarrels at the time. It is adopted, translated and graphically interpreted by such architects as Cesariano or Sebastiano Serlio who add their conceptions as men of the Renaissance. These interpretations are not without importance because they include the main invention of the period: the perspective. Thus, taking as a basis the Roman theatres and their stage walls decorated with statues and bas-relief, the addition of a scenic perspective under the supervision of the famous architect Palladio produces the perfect model of the type. His superb construction, the Olympic Theatre at Vicenza, inaugurated in 1585, soon becomes the theatrical model par excellence and influences many European architects. This theatre, of "classic" type, is however the opposite of the aristocratic theatre of the Court, which appears toward the end of the 16th century and which corresponds more to the explosion of baroque art. The first private theatres, such as those of Mantua in 1472 or Ferrare in 1486 are still built according to the theatrical model described by Vitruvius. However the application of perspective gradually requires the creation of decors in trompe l'œil. In order to embellish the plots, these decors become mobile and complex machinery is devised so that the production can feature the luxury, splendour and exuberance so adored by the public. Conceived by architect scenographers such as Peruzzi, these decors also receive the contribution of talented artists such as Rafael or Leonardo da Vinci. Soon curtains close the stage in order to preserve the magical surprise and thus the “ Italian ” theatre is born. When the decorative space begins progressively to encroach on the back of the stage in order to unite the dramatic action with the decors and music, this type of theatre becomes the ideal venue to receive the opera. While complex and perennial architecture develops, forever marking the history of European theatre, other performance venues are improvised in the streets, countryside and Palace courtyards, adapting with limited means all the scenic discoveries of the time. The Commedia dell' Arte, which only consists of roving troupes, thus conceives stages supported by trestles that are transported along the roads in wagons. Yet this paraphernalia includes all the sophistication of the Italian stage with painted decors, curtains, accessories and costumes. The trestles, on which the actors perform, are sufficiently raised to allow the use of the space underneath as a store for accessories, kept out of sight by a surrounding curtain. This is how the Commedia dell' Arte transports this magical world in its baggage train and introduces all the artifices of the new mechanical theatre which so enthrals the France of Louis XIV and every European court.