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foyer are located on the first floor and occupy the entire width of the building, with two rooms for a restaurant and smoking room. With its double height, corresponding to the main hall and facade, the interior is profusely decorated along the windows and balustrades, with a wide oculus on the transition doors to the "avant-foyer". The two floors correspond to the first-order royal boxes, and, on the second floor, the second-order boxes. The "avant-foyer" and "foyer" allow circulation with its balconies. On the last floors are the galleries and the amphitheater, forming a single group of places, but with different accesses (one at the level of the lower floors and another at the level of the highest). On the first floor of the amphitheater is a storage room and a paint shop. From the ground floor, the stairs lead to the galleries and amphitheatres, by two direct, exterior entrances, along the lateral facades. The layout of the horseshoe-shaped hall holds 1328 seats, including the 6 large boxes, with one at the height of the first floor, intended as an alternative to a royal box. Between the audience and the stage is the orchestra pit, with independent entrances from the side facades. The stage and dressing rooms have side and rear entrances, that can be divided by a metallic cloth.
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a mezzanine of three openings and bas-reliefs alluding to the human passions ("Pain", "Hate", "Kindness" and "Love"), subtitled on the architrave. Above, the denticulated cord ends at the frieze and the beginning of a strong cornice based on rebound corbels, which are dense, in a repetitive rhythm that runs throughout the building. Crowning the facade is the gable, rising over a high platform, with rhythmic fenestration and formal, ornamented balustrades. The lateral facades are symmetrical. On the ground floor, there are 3 arched doorways (topped by a running balcony and supported by 4 consoles), flanked by 2 small doors, with an interrupted curvilinear pediment. Here, 3 doors (that are repeated in the two successive upper floors) with balconies and sills, are interspersed between four, embedded Ionic pilasters. The set is flanked by strong masks, on intermediate floor, on which a window opens at the top, with small gap at the bottom. Corresponding to the stage area, there are high, open slits; in this area, the body of the theatre rises above the entablature, accompanying the broken forms or gables, underlined by the frame and ornamental strip.
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Pizzi. The building included four rows of booths, with the booth for the royal family located centrally on the second floor. The large atrium, and the corridors large supported by access from large staircases. Along the second floor was a magnificent concert hall. Generally, the theatre had excellent acoustics. The stage wall was painted by
Sequeira, but was later replaced in 1825 by paintings contracted to the Spaniard João Rodrigues, and later, Palucci. Until 1838, the theatre was lit by tallow candles, and later by similar candles lit by oil.
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Three loggias exist on extended balconies, over sills in the thickness of the walls and interconnected by a balcony running on 4 strong consoles in the same alignment as the ordering columns. The arches have a shutter in support and transition to the entablature, which opens a frieze corresponding to
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During the course of this transition, attempts to reclassify the institution continued; on 22 April 1996, a dispatch by the Vice-President of IPPAR, devolved to the DRPorto its proposal for reformulation. On 12 September 2005, a new proposal was issued by that entity. This new proposal was favourably
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In 1992, the theatre was acquired by the State from the family of Pinto da Costa. At that time, the work on the installation of security features and public services were undertaken on site. These were elaborated the following year with upgrades to dressing rooms, the stage, washrooms and remodelling
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On the ground floor, the vestibule occupies the whole width of the building, with access through the 3 doors of the main facade and lateral entranceways. From this space you can access the corridors leading to the audience seating or, to the side, the stairs to the upper floors. The avant-foyer and
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and the director of public works, Isidro de Campos, whom immediately denounced the conditions of the tender. A new competition was announced a week later, based on slight alterations to the original provisions. Preliminary project proposals were accepted on 22 February 1910. It was
Marques da Silva
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The rectangular plan is covered in tile roofing, with its principal facade found on one of the two smaller sides, framed laterally by rustic cornerstones and accentuated by capricious urns and garlands. The "noble floor" with three arches on steeped pilasters is inscribed under columns with broad
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But, on 11 April 1908, there was a fire, destroying the theatre interior, and a new structure was built on its former site. Before its destruction, the theatre had a markedly horseshoe-shaped plan. Its rounded ceiling was painted by
Joaquim Rafael and had in 1856 received a new painting by Paulo
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Work began in 1911 under the direction of Porto architect José Marques da Silva. The inner, horseshoe-shaped concert hall included a ceiling painted by the artists José de Brito and Acácio Lino, while the entrance hall was decorated with sculptural work by
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Two years later (23 November) a proposal was issued by the DRPorto, to reclassify the
Theatre as a Portuguese National Monument. Following a period of remodelling, the theatre began to function regularly, under the designation the
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On 11 April 1908, the Civil
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The main entranceway along the narrower facades, with three porticos, doorways and
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Sá, José Manuel Vieira; Barroso, Eduardo Paz; Castro, Paulo
Ludgero (1995), "Teatro Nacional S. João",
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A projection area was constructed in 1932, and the theatre began to operate a cinema, then designated
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O Arquitecto José Marques da Silva e a
Arquitectura no Norte do País na primeira metade do Séc. XX
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shafts and Ionian capitals, while the doors of the lodges are topped by interrupted pediments.
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The theatre is centrally located in Porto, occupying a complete block, in front of the
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of the electrical systems, which included the installation of an electrical generator.
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The primitive theatre was constructed at the end of the 18th century (1796) by
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Pedido de Apoio a
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The common oblique view of the national theatre at the corner of
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Cedofeita, Santo Ildefonso, Sé, Miragaia, São Nicolau e Vitória
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Cedofeita, Santo Ildefonso, Sé, Miragaia, São Nicolau e Vitória
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Cardoso, António (1994), "O Teatro Nacional de S. João",
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A competition opened on October 8, presided by engineer
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A Arte em Portugal no século XIX, vol. 2, Lisboa, 1990
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The typical view of the theatre in the 20th century
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397:São João Cine
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232:municipality
224:civil parish
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190:Architect(s)
103:Town or city
87:Neoclassical
56:
52:
1207:and museums
1140:She Changes
965:Casa Vicent
149: /
137:8°36′26.5″W
124:Coordinates
1462:Categories
887:Mass media
868:Metro Area
503:References
217:Portuguese
205:Portuguese
1284:Serralves
1205:Libraries
1164:Fountains
970:Cathedral
960:Casa Tait
921:Buildings
907:Transport
858:Geography
853:Education
230:, in the
134:41°8′41″N
897:Politics
880:Timeline
863:District
763:citation
740:citation
717:citation
694:citation
662:citation
627:13 April
494:Interior
363:Kindness
243:Portugal
240:northern
177:Material
117:Portugal
93:Location
875:History
848:Economy
843:Climate
838:Culture
638:Sources
432:IGESPAR
303:John VI
249:History
220:theatre
113:Country
77:Theater
892:People
831:Topics
375:Hatred
1435:Porto
902:Sport
824:Porto
508:Notes
238:, in
236:Porto
215:is a
162:Owner
107:Porto
1411:Zoos
769:link
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629:2017
390:Aida
381:Love
378:and
369:Pain
356:and
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