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Petőfi Sándor Theatre in Sopron

Zgodovina gledališčaPrilogatehnični podatkiHistoric equipment

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(Podrobnosti)1909 | Opening

Zgodovina

The country's first permanent, so-called  “stone theatre”, was opened in Sopron in 1769.  In 1841-1842 a new theatre was built in the style of Classicism according to the plans of Viennese architect Franz Lössl. In 1909 István (Benkó) Medgyaszay was entrusted with the reconstruction works of the theatre, which is nowadays situated in Petőfi Square 1.

Under the reconstruction works of Medgyaszay the main walls were conserved and the others were replaced by reinforced concrete structure. Thin pre-cast concrete shells were deposited between the iron profiles. The ceiling was hanged on these iron profiles, which serve acoustic and decorative purposes too. Medgyaszay’s theatre was first renovated in 1969-1975, but not very successfully. In 1992, the architects Péter Wagner and Ferenc Kőnig renovated the theatre, they modernized it but kept the look of Medgyaszay’s original design.  

István Benkó Medgyaszay studied in Vienna at Otto Wagner’s studio. He brought with him the Viennese Secession and the engineering approach. Architects of the secession wanted to break the historical forms and express themselves in free formats as they thought historical forms hold back the free thoughts. He believed in eastern roots of the Hungarians and wanted to express them in the appearance of his buildings. His architecture could be characterized by materiality and the smooth use of reinforced concrete. The transplantation of wooden buildings’ form into the architecture of reinforced concrete is also characterized him. A certain rationality is noticeable in the theatre designs.

Medgyaszay rebuilt the existing Classicist theatre to Art Nouveau style at the turn of the century. The building has three different height arched-top roof forms in order to serve different functions. Medgyaszay was interested in architectural expression of the Eastern roots of Hungarians and culture.

From the square the mass of the lower flat-roofed foyer has a Pylon effect with corner towers ending in cones. Behind the mass rises the three-storey auditorium, with stave-vaulting roof at corners ending also in cones. Above the entrance a terrace hangs over which stands on four fluting pillars. The architrave leaning on the capital of columns effects lace edging. The lobby of the balconies looks into this terrace.

Above the second floor arched-openings the wall is decorated with sgrafitto paintings. From the mass of the entrance staircases hang over at two sides. The facade from the square shows cleared overlook; the architect placed circular windows on it make them notable. The foyer’s final edge sticks out as a console. The highest hinder mass contains the stage and the flyloft. At the ground floor longitudinal broad-stone is running around.

Medgyaszay explained that the surface elements function as separation, therefore they are simply decorated, however in some structures, such as the balconies’ main beams, he wanted to emphasize the load-bearing character.

 

 

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