Acoustic design of a theatre – Day 2

Today we are finally reviewing the interior design for a 1200-seat grand theatre. We always start with a review of the current geometry performance. Understanding how the room works and the potential for each surface and architectural element is critical to us.

We always start with one of the most critical zone, close to the sources. In today’s case, the sources are on stage and in the orchestra pit.

We make sure that the surfaces promote good communication between pit and stage. This is not only relevant for western opera. In XIQU performances, the lead musician in the pit and performers on stage are in constant visual and aural communication, giving each other cues for rhythms and phrases.

Source in pit, reflection path to the stage

These surfaces are not necessarily dedicated to this reflection path, they also are designed to project overhead reflections for the audience in the stalls. Although such reflections do not assist with envelopment, they boost clarity, speech intelligibility and early loudness. They promote the “Presence” of the performer, highlight the precision of the work and the attack.

Overhead reflections from stage to audience