架构师提供的文本描述。达拉斯剧院中心(DTC)以其创新的工作而闻名，这是其领导不断尝试的结果，也是其长期居住的临时性质的结果。DTC被安置在艺术区剧院，这是一个破旧的金属棚子，使当地的公司摆脱了固定舞台结构的限制，并且需要避免损害昂贵的室内装修。在那里工作的导演们不断挑战传统的戏剧惯例，经常调整舞台的形式，以适应他们的艺术视野。因此，艺术区剧院被誉为美国最灵活的剧院。然而，不断调整舞台的成本变成了一种财政负担，最终DTC将其舞台永久地固定为一个“推力中心”。

Text description provided by the architects. The Dallas Theater Center (DTC) is known for its innovative work, the result of its leadership’s constant experimentation and the provisional nature of its long-time home. DTC was housed in the Arts District Theater, a dilapidated metal shed that freed its resident companies from the limitations imposed by a fixed-stage configuration and the need to avoid harming expensive interior finishes. The directors who worked there constantly challenged the traditional conventions of theater and often reconfigured the form of the stage to fit their artistic visions. As a result, the Arts District Theater was renowned as the most flexible theater in America. The costs of constantly reconfiguring its stage, however, became a financial burden and eventually DTC permanently fixed its stage into a “thrust-cenium.”

 © Iwan Baan

(Iwan Baan)

设想取代dtc的老房子带来了几个截然不同的挑战。首先，新剧院需要产生同样的自由，这是由它以前的家的临时性质所创造的。第二，新场馆需要灵活多样的形式，同时需要最低的运营成本.

Imagining a replacement for DTC’s old house raised several distinct challenges. First, the new theater needed to engender the same freedoms created by the makeshift nature of its previous home. Second, the new venue needed to be flexible and multi-form while requiring minimal operational costs.

 © Iwan Baan

(Iwan Baan)

迪伊和查尔斯怀利剧院克服了这些挑战，推翻了传统的戏剧设计。怀利剧院不是围绕着礼堂和飞行塔围绕着前厅和后台活动，而是把这些设施堆放在房子下面和上面。这种策略把大楼变成了一台大的“剧院机器”。只要按下按钮，剧院就可以转变成各种各样的配置-包括舞台前场、推力和平地-释放导演和风景设计师，让他们选择满足自己艺术欲望的舞台观众配置。此外，表演室是故意用不太贵重的材料制成，以鼓励改建；舞台和礼堂的表面可以有限的费用切割、钻孔、油漆、焊接、锯、钉、粘和缝制。

The Dee and Charles Wyly Theatre overcomes these challenges by overturning conventional theater design. Instead of circling front-of-house and back-of-house functions around the auditorium and fly tower, the Wyly Theatre stacks these facilities below-house and above-house. This strategy transforms the building into one big “theater machine.” At the push of a button, the theater can be transformed into a wide array of configurations—including proscenium, thrust, and flat floor—freeing directors and scenic designers to choose the stage-audience configuration that fulfills their artistic desires. Moreover, the performance chamber is intentionally made of materials that are not precious in order to encourage alterations; the stage and auditorium surfaces can be cut, drilled, painted, welded, sawed, nailed, glued and stitched at limited cost.

堆叠怀利剧院的附属设施之上-和下面-也解放了表演室的整个周边，允许幻想和现实混合在一起，何时何地需要。导演们可以随意将达拉斯的天际线和街景融入到表演中，因为礼堂被一个带有隐藏的黑色百叶窗的声学玻璃幕墙所包围，可以打开也可以关闭。门面的面板也可以打开，允许顾客或表演者绕过楼下的大厅直接从外面进入礼堂或舞台。

Stacking the Wyly Theatre’s ancillary facilities above- and below-house also liberates the performance chamber’s entire perimeter, allowing fantasy and reality to mix when and where desired. Directors can incorporate the Dallas skyline and streetscape into performances at will, as the auditorium is enclosed by an acoustic glass façade with hidden black-out blinds that can be opened or closed. Panels of the façade can also be opened to allow patrons or performers to enter into the auditorium or stage directly from outside, bypassing the downstairs lobby.

 © Iwan Baan

(Iwan Baan)

通过投资于基础设施，使表演室的周界得到解放，怀利剧院给予其艺术导演决定整个戏剧体验的自由，从观众的到来到表演的配置再到离开。连续几天，威利剧院可以在舞台上演出莎士比亚，也可以在达拉斯城市景观的背景下制作贝克特。DTC的原创艺术区剧院Dee和Charles Wyly剧院将使达拉斯恢复成为美国最灵活的剧院，即使不是世界上最灵活的剧院。

By investing in infrastructure that allows ready transformation and liberating the performance chamber’s perimeter, the Wyly Theatre grants its artistic directors freedom to determine the entire theater experience, from audience arrival to performance configuration to departure. On consecutive days, the Wyly Theatre can produce Shakespeare on a proscenium stage or Beckett in a flat-floor configuration silhouetted against the Dallas cityscape. Both learning from, and improving upon, DTC’s original Arts District Theater, the Dee and Charles Wyly Theatre will restore Dallas as the home of the most flexible theater in America, if not the world.

 © Iwan Baan

(Iwan Baan)

Architects REX | OMA

Location Dallas, United States

Category Theater

Executive Architect Kendall/Heaton Associates

Theatre Design Theatre Projects Consultants, Connecticut

Area 7700.0 sqm

Project Year 2009

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