Afiniyum teatri - Athenium Theatre

Afiniy teatri
Manzil	Broadway, Iyun, Juni Shir, Yangi Janubiy Uels, Avstraliya
Koordinatalar	34 ° 52′05 ″ S 147 ° 34′56 ″ E / 34.8680 ° S 147.5821 ° E / -34.8680; 147.5821Koordinatalar: 34 ° 52′05 ″ S 147 ° 34′56 ″ E / 34.8680 ° S 147.5821 ° E / -34.8680; 147.5821
Qurilgan	1929–1929
Me'mor	KABBERRI VA CHARD; Me'morlar
Egasi	Juni Shir Kengash
Yangi Janubiy Uels merosi ro'yxati
Rasmiy nomi	Afiniy teatri; Broadway teatri; JADDA markazi
Turi	davlat merosi (qurilgan)
Belgilangan	2004 yil 9-yanvar
Yo'q ma'lumotnoma.	1687
Turi	Teatr
Turkum	Dam olish va ko'ngil ochish
Quruvchilar	J. NYSSEN
Yangi Janubiy Uelsdagi Afiniy teatrining joylashuvi

Afiniyum teatri meros ro'yxatiga kiritilgan sobiq teatr va kino va hozirda Broadway-dagi jamoat zali, Iyun, Juni Shir, Yangi Janubiy Uels, Avstraliya. Kaberri va Chard tomonidan loyihalashtirilgan va 1929 yilda J. Nissen tomonidan qurilgan. Bundan tashqari, Broadway teatri va JADDA markazi. Mulk June Shire Kengashiga tegishli. Bu qo'shildi Yangi Janubiy Uels davlat merosi reestri 2004 yil 9-yanvarda.^[1]

Tarix

Xronologiya

• v. 1894. Gearge Laurantus yilda tug'ilgan Kitira, Gretsiya. (Uning ukasi Nikolay o'zidan besh yosh katta edi).^[1]
• v. 1909. Jorj Avstraliyada hijrat qiladi, birinchi bo'lib ishlagan Sidney, keyin bir shaharchada kafe sotib olgan birodar Nikolayga, keyin Globe teatriga, Narrandera.^[1]
• 1925. Nikolas Laurantusning "Globe" teatri olov bilan vayron qilingan. U qayta tiklaydi.^[1]
• 1927. Yangi Globe teatri ochiladi. Nikolay kinoteatrlarning "zanjiri" ni kino ijarasi bo'yicha yaxshiroq kelishuv vositasi sifatida rivojlantirishni xohlaydi.^[1]
• v. 1928. Nikolay qo'shiladi Ben Cummins, Iyun, yilda yangi teatr qurish Broadway; u akasi Jorjni litseyga mas'ul qiladi va yangi teatr binosini nazorat qiladi.^[1]
• 1929. May oyida teatrlar va jamoat zallari qurilishiga ruxsat berishdi. 10 oktyabrda teatr Afiniy teatri sifatida ochiladi.^[1]
• 1935. Nikolay va Gearj Rio teatrini qurishadi Lokxart.^[1]
• 1939. Nikolay Narranderadan tashqarida mulk sotib olishga qaror qildi, Iyundagi teatrga bo'lgan qiziqishini sotishga qaror qildi va Jorjni Afiniy boshqaruvidan voz kechishga majbur qildi, Nikolas shaharda bo'lganida.
• v. 1940. Robert Tilbi Begg teatrni egallaydi.^[1]
• 1950. R J va E Pollard teatrni sotib olib, boshqarib, uning nomini Broadway deb atashdi.^[1]
• 1954. Pollardlar Albert Tomas Manionga o'g'li Kevin va kelini Yvonni boshqarish uchun sotib yuborishadi (sotib olish narxi 28 000 funt 56 000 dollar).^[1]
• 1958. Teatr, Kevin Manion va Tomas A Vax direktorlari bo'lgan Broadway Theatre (Junee) Pty Ltd kompaniyasiga topshirildi.^[1]
• 1959 yil. Cinemascope taqdimoti uchun yanada kengroq ochilish marosimi bo'lib o'tdi. Kevin Manion 1971 yilgacha kompaniyaning yagona egasi bo'lgan T A Vaxga sotadi.^[1]
• 1971 yil. Teatr litsenziyasi bekor qilindi va bino sotuvga qo'yildi.^[1]
• 1977-8. June va District Development Association tomonidan 20 000 AQSh dollariga sotib olingan, bu esa iyun oyini va Illabo Kengashlar mulkni ishonchli egalari (virtual egalari) umumiy ijarachi sifatida. Yopiq sport turlari va ijtimoiy tadbirlar uchun foydali bo'lishi uchun o'zgartirishlar, qiymati 45 000 AQSh dollar. Jamiyat xayriya mablag'lari hisobidan. Yangi litsenziya berildi.^[1]
• 1984 yil. Juni kengashi ko'proq qiziqish uyg'otmoqda. Teatrlar va jamoat zallari binoning kimga yoki kimga tegishli ekanligini qidirishni boshlaydi.^[1]
• 1990 yil. Teatrlar va jamoat zallari to'g'risidagi qonun bekor qilindi va yangi qonun litsenziyalashni, tekshiruvlarni va boshqalarni mahalliy kengashlarga o'tkazdi.^[1]
• 1998. Tashqi tomoni bo'yalgan, salqin oshxonasi 28000 AQSh dollari miqdorida qayta jihozlangan.^[1]
• 2002/3. June Shire Kengashi teatrni buzishni xohlaydi.^[1]

1964 yilda mahalliy televidenie kelguniga qadar ellik yildan ko'proq vaqt davomida boshqa mamlakatlardagi shaharlar, shaharlar va chekkalarda bo'lgani kabi, kino nafaqat ko'ngil ochish, balki o'zini tutish, dizayn, moda va zamonaviy voqealarda madaniy o'rganishni ham ta'minlay oladi. June shahridagi barcha kinoteatrlar, shuningdek, jonli o'yin-kulgi va ijtimoiy tadbirlar, masalan, to'p va ziyofatlar bilan ta'minlanishlari mumkin edi, chunki ularning barchasi "tekis" pollarga ega edi.^[1]

Iyundagi "Globe" teatri 1917 yil filmlarini namoyish qildi, seshanba va shanba kunlari Lisgar ko'chasidagi kichik zalda namoyish etildi. 1922 yilga kelib, "Litsey rasmlari" katta Litsey zalida, shuningdek, Lissar ko'chasida "Globus" 1924 yildan beri mavjud bo'lgan mahalliy gazeta reklamalaridan g'oyib bo'lgandek paydo bo'ldi, Litsey filmlar va jonli shoular bilan davom etdi.^[2][1]

Cumminlarning Juni oilasi Litseyga egalik qilgan. Ben Cummins yangi kinoteatr qurish uchun mahalliy kinematograflar bilan hamkorlik qilishga qaror qildi. U qayin akasi Jek Kavlas bilan maslahatlashdi (o'zi kinematografiya bo'yicha tadbirkor bo'lgan va keyinchalik o'z aktivlarini birlashtirgan Xoyts Teatrlar). Kavvelda Ben Kammins Nikolas Laurantus bilan sheriklik aloqalarini o'rnatayotgani to'g'risida shubha uyg'otganday tuyuldi, ammo Kammins shunday qildi, natijada u bitimning "jim" sherigiga aylandi. Yangi teatr Nikolas Laurantusning nazorati ostida bo'lar edi, ammo uning ukasi Jorjning kundalik rahbarligi bilan.^[1]

Jorj 1928 yilda turmushga chiqishi bilanoq iyun oyida joylashdi.^[3] Litsey teatri boshqaruvini o'z zimmasiga oldi. Teatr jonli shoular, imtiyozlar va raqqosalar uchun keng qo'llanilgan, masalan, san'atkorlarning chiqishlarini namoyish etgan Gladis Monkrieff.^[4]

1929 yil 1-mayda yangi teatrni qurishga ruxsat berildi. Me'morlar, Kaberri va Chard, teatr iyul oyining boshlarida taxminan yarmi tugagan deb yozishdi. Litseydagi ofisidan Jorj Laurantus 5 oktabr kuni shu oyning 10-kuni ochishga ruxsat so'rab yozgan. Teatrlar va jamoat zallari vakili bo'lgan mahalliy politsiyadan teatrning Departament talablariga muvofiqligini tekshirish uchun tekshiruv o'tkazishni so'rashdi va agar shunday bo'lsa, o'sha kuni uni ochishga ruxsat berish.^[5] 17-oktabr kuni politsiya tomonidan iyun oyidagi to'liq hisobotda kiyim-kechak doirasi 410 va stendlar 600 ga teng edi. G. Laurantusga 1929 yil 10 oktyabrdan boshlab 1010 kishiga umumiy ko'ngil ochish uchun litsenziya berildi. Les Todning eslatmalarida quruvchi J. Nissen ekanligi ko'rsatilgan.^[1]

Piter Laurantusning aytishicha, 1931 yilda birinchi farzandi dunyoga kelguniga qadar uning otasi va onasi otasining hamma narsasini (ayvonning old tomonida) filmlar uchun buyurtma qilish, filmlarni bron qilish, jo'natish va loyihalashtirish bilan shug'ullangan. . Uning onasi chiptalarni sotgan va ko'ngilochar soliq va kino ijarasi (ayniqsa foiz) to'lovlari bo'yicha yozuvlarni saqlab qolgan. 1931 yilda Blanche Heffernan, ilgari Cummins chiptaxonaga ishga joylashdi. U Ben Kamminsning o'n etti yoshli qizi edi (korxonadagi "jim sherik") va 1936 yil dekabrda turmushga chiqquncha teatrda ishladi.^[1]

Teatr Nyu-York fond bozori qulashi va undan keyingi Buyuk Depressiyadan ikki hafta oldin ochilgan. Ammo 1928 yilgi soliqqa tortiladigan kirish ko'rsatkichlari depressiyadan oldin tasviriy teatrlarga qabul qilishning pasayishini ko'rsatdi. Ehtimol, jim filmlarning yangiligi yupqa kiygan bo'lishi mumkin, ayniqsa simsiz aloqa endi rivojlanib bormoqda. Laurantusga ko'p mehnat qilish kerak edi, ammo baxtiga ko'ra, sifatsiz bo'lganidan so'ng, ovozli filmlar tez sur'atlar bilan yaxshilandi va hatto Depressiya ishtirokchilari tezda ko'tarildi. 1933 yilgi aholini ro'yxatga olish bo'yicha daromadlar va ish bilan bandlik ko'rsatkichlari bo'yicha, June boshqa ko'plab shahar va shaharlarga qaraganda ancha yaxshi holatda edi. Shunday bo'lsa-da, Blanche Xeffernan sayohat marshrutlari, ish qidirayotgani, lekin ko'chib o'tishdan oldin faqat bir yoki ikki kecha-kunduz bir shaharda turishiga ruxsat berilgani, teatrga kirib, orqada bir muddat turishiga ruxsat berilganligini eslaydi. o'zlarini isitish. Demak, temir yo'l xodimlaridan ko'ra, buni "qattiqroq" bajargan fermerlarga asosiy filmni ko'rish uchun yarim vaqtda va yarim bahoda kirishga ruxsat berildi.^[1]

T&PH-ga doimiy politsiya hisobotlaridan birida; (11/2/38) teatrni parvarish qilish to'g'risida filmlar haftada olti kun namoyish etilishi, bundan tashqari, yiliga etti marotaba raqslar yoki kontsertlar o'tkazilganda (bitta kechada) namoyish etilishi ta'kidlangan. Jorj Laurantusning eslatmasida u teatr shanba kuni ertalab va har oqshomda ishlatilishini aytdi.^[6] O'sha paytda "Yakshanba kunini kuzatish to'g'risida" gi qonun amal qilganda, bu dushanbadan shanbagacha filmlarni namoyish qilishi mumkin, masalan, yakshanba kuni cherkov xorlaridan birining kontserti. Blanche Heffernan har bir cherkovda to'p borligini, tez yordam mashinasida spektakllar namoyish etilishini, Sorleyning gastrol gastrollari teatrda, shuningdek, MakKeys kabi bo'lganini esladi. Mahalliy aholi bir yil Mikadoni kiyib olgan. O'tgan asrning 60-yillarida, White Horse Inn uch kecha davomida namoyish etilardi.^[7] Albatta Ikkinchi Jahon urushi paytida nafaqat vizual yangiliklar, ham Avstraliya, ham Xalqaro nashrlarda suratga olingan kinoxronkalar orqali; patronlarni urush majburiyatlari va urushni tejash sertifikatlarini sotib olishga undash uchun maxsus reklama filmlari va foye plakatlari ham mavjud edi; Vatanparvarlik to'plari, kontsertlar va Spitfire [qiruvchi samolyot] 1941 yilgi qirolichalar musobaqasi, Afiniy teatrida toj kiyish marosimi bo'lib o'tdi.^[8][1]

Teatr kunduzi ham ishlatilgan, uning rastalaridagi tekis poli raqs darslari uchun mos bo'lgan. Blanche Xeffernan u erda turmushga chiqib, erining fermasiga ko'chguniga qadar haftaning ikki kuni baletdan dars bergan.^[1]

Ochilishidan beri Jorj Laurantus yaxshi reklama qilish uchun ko'zi bor edi. Mahalliy gazetadagi reklama katta hajmga ega bo'lib, ularni o'tkazib yubormaslik mumkin edi. U dasturlarini mavjud filmlarga va tomoshabinlarga mos ravishda o'zgartirardi. 1935 yil boshida u "dushanba kuni bitta dastur bilan, ikkinchi dastur seshanba, chorshanba, payshanba kuni va uchinchi dastur juma, shanba kunlari bilan savdolashib turar edi. Ularning har biri yangiliklar filmi, sayohatnomasi bo'lgan ikki nusxadagi badiiy dastur bo'ladi. yoki karton, dam olish kunlari uchun serial va, albatta, kelayotgan diqqatga sazovor joylar uchun treylerlar .. Barcha filmlar turli distribyutorlarga va turli shaharlarga poezd orqali olib ketilgan, taxminan 50 foizi Sidneydan kelib, jo'natilgan. Bu June stantsiyasidan haftasiga o'n besh yoki o'n oltita filmni qabul qilish va jo'natishni anglatardi.^[1]

Afiniy temir yo'l bilan yana bir aloqaga ega edi (filmni etkazib berishdan tashqari). 1935 yil 11-fevralda iyun janubiy xochida iyun oyi chorshanba kuni iyun oyi temir yo'lining yubiley gala-spektakli uchun reklama mavjud. Kechki soat 19: 00da film bo'lishi kerak edi, so'ngra Bosh komissar tomonidan temir yo'l xodimlariga xizmat medallarini topshirish kerak edi Yangi Janubiy Uels hukumat temir yo'llari, keyin ertasi kuni ertalab soat 01:00 gacha konsert va raqs. So'nggisi milliy raqs tanlovining final bosqichi va hakamligini o'z ichiga olgan. Olti soat davom etgan ushbu marafon kontsertida Afiniy teatri shahar meriyasi sifatida qanday qilib ikki baravar ko'payganligi tasvirlangan.^[1]

O'sha paytlarda kinoteatrlar o'zlarining konfetlariga ega emas edilar. Ko'pincha teatr binosida sut barasi bo'lgan kichik do'kon bo'lishi mumkin edi, lekin bu kamdan-kam hollarda ikkita badiiy film oralig'ida chiqib ketgan olomonni qondirishi mumkin edi. Iyunda Allan Makevan, Dal Eyzenxauer va Blanche Xeffernan bir necha erta chiqqan homiylar teatr qabulxonasi yonidagi do'konda joylashgan kichik sut bariga qanday kirib olishlarini eslashadi, ammo katta shov-shuv ikki yo'l bo'ylab va bog 'chizig'i bo'ylab Broadway Stores binosidagi Allies kafesi sut kokteyli, samimiy ichimlik, muzqaymoq, shokolad yoki Minties paketini olish uchun (popkorn yoki kofe yo'q). Xuddi shu yunon egasi har ikkala sut barini boshqargan va shu bilan o'z biznesini maksimal darajada oshirgan.^[1]

Jorj Laurantus 1938 yilda litsenziyani uzaytirdi, hanuzgacha menejer, ammo 1940 yil sentyabr oyida uni yangilash to'g'risidagi ariza Robert Tilbi Begg tomonidan egasi hisoblanadi.^[9] Laurentus oilasi qizining tug'ilgan yili va Jyuni tark etgan yoshini hisoblab chiqqach, 1939 yil oxirida shaharni tark etgan bo'lar edi.^[10][1]

1941 yilda hojatxonalar yaqinda to'rlangan shahar kanalizatsiyasiga ulanishi kerak edi.^[11] 1942 yilda Robert Begg teatrlar va jamoat zallari tomonidan o'tirish joylarini oldindan ma'qullamagan holda o'zgartirgani uchun kastatsiya qilingan. U savdo rastalarini 475 taga, aylanani 386 taga qisqartirdi.^[12] 1941 yilda hojatxonadagi vaziyat haqida eslatib o'tilgandan so'ng, u o'zgarishlarni va yangilanishni xohlaydigan hokimiyat bilan dostonga aylandi. Bu oxir-oqibat 1947 yilda T&PH bo'yicha politsiyaning iyul oyidagi hisobotiga binoan joylashtirilgan; fayl. 1950 yil 29 martda Begg litsenziyani (Afiniy teatri uchun № 50580) R. J. va E. E. Pollardga, ​​ular o'zlarining egalari deb yozadigan boshqa er va xotinlar jamoasiga o'tkazishga rozi bo'ldi.^[13][1]

Janob va Pollard xonim 1950 yil 10 oktyabrda berilgan litsenziyaga binoan (T&PH;) teatrni Broadway deb o'zgartirdilar. Pollardlar o'sha yilning 11 aprelida egalari bo'lganligini aytishdi, ammo 1952 yil 8 martda Pollards Broadway teatr kompaniyasining firma bayrog'i ostida imzo chekdi. Ular proektorning eng yaxshi jurnalida (T&PH;) filmning g'altakning olov bilan yo'q qilinganligi haqida xabar berishgan.^[1]

Pollardlar teatrni Albert Tomas Manionga 1954 yil 28 sentyabrda (T&PH;) keliniga ko'ra 28000 funt sterlingga (56000 AQSh dollari) sotgan.^[14] Avvalgi egalar singari, bu teatrni boshqargan er va xotin jamoasi edi. Ular Albert Manionning o'g'li Kevin va uning rafiqasi Yvonne, Kevin Manion filmlarni tanlab, loyihalashgan, uning rafiqasi chiptalar qutisida ishlagan va buxgalteriya hisobini olib borgan (garchi u bir marta Ijrochi tikuvchilik mashinasida ikkita ekranga qo'shilib, keng proektsion ekran yaratgan bo'lsa) katta og'ir materialni qo'llab-quvvatlovchi ikki kishi bilan). Kreslolar "yaroqsiz" bo'lib qoldi va tekshiruvlar shuni ko'rsatdiki, ba'zilarida qayta jihozlash kerak.^[15] 1958 yil 29 dekabrda o't o'chiruvchilar brigadasi o'zining muntazam hisobotlaridan birida, keng ekranga ruxsat berish uchun proksenium ochilishini kengaytirganini payqadi, teatrlar va jamoat zallari janob Albert Tomas Manionga litsenziya egasi sifatida javob yozib, ish olib borolmasligini ta'kidladi. tasdiqlashsiz davom eting.^[16][1]

Avvalroq 1958 yilda Bosh ro'yxatga olish idorasining yerga egalik huquqi bo'yicha idorasi Broadway Theatre (Junee) Pty Ltd-ga (ipoteka bilan Avstraliya tijorat banki ) 30 may kuni.^[17] 1959 yil 5 fevralda yozilgan teatr haqidagi yozishmalar uchun firma blankalarida kompaniya direktorlari T. A. Vah va K. C. Manion (T&PH;) sifatida ko'rsatilgan. Yvonne Kingsford-Archerning aytishicha, bu yangi tartib janob Manion katta lavozimidan ketishni xohlagan paytda tashkil etilgan. U Tom Vax haqida rezervasyonlari bor edi, chunki u teatrni boshqarish uchun mos ko'nikmalarga ega emas edi, shuning uchun u teatrni boshqa ish bilan shug'ullanish uchun - mahalliy gazetaga jo'nab ketdi. 1959 yilning birinchi yarmida Tom Vah Kevinning kompaniyadagi aktsiyalarini sotib oldi. 1960 yil 10 oktyabrda litsenziyani yangilash uchun ariza berishda Vax boshqaruvchi direktor sifatida tavsiflanadi. (Kompyuterlashtirilgan kompyuter yozuvlarini tekshirishda uning ko'p yillar oldin yarador bo'lganligi ko'rsatilgan).^[1]

Kengaytirilgan proskenium muammosi faqat Juni Kengashining qurilish inspektoridan hisobot berishni so'raganda tugadi. T&PHga javob (1/12/60); Sahnaning ochilishini 27 fut 4 dyuymdan 36 fut 4 dyuymgacha oshirish uchun mustahkamlangan truss strukturaviy jihatdan yaxshi ekanligini ta'kidladi. Boshqa masalalarda bu joy yomonlashganday tuyuldi, ammo mahalliy televideniye hali boshlamagan edi - 1964 yilda. Serjant Iyun Politsiyasining Riordan (15/12/63) xabar berishicha "Mening fikrimcha, Vax bu borada kam harakat qilmoqda yoki umuman harakat qilmayapti "ta'mirlanmagan buyumlarni to'ldiring. Keyin u tanazzul dostoniga aylandi.^[1]

1966 yilda June shahar Kengashi uni sotib olish g'oyasini o'ynadi, ammo bunday qilmadi.^[18] Litsenziyalovchi organ Tomas Vaning sustkashligi va uning hech qachon amalga oshmaydigan g'oyalaridan ko'proq xafa bo'ldi. 1969 yil 15-iyulda Politsiya Vax moliyaviy muammolar tufayli teatrda kerakli o'zgarishlarni amalga oshira olmaganligi haqida xabar berdi. Shubhasiz, filmlarga tashrif buyuruvchilar kamaydi va 1970 yil 21 dekabrda mahalliy politsiya serjanti o'z ma'ruzasini berguniga qadar ular haftasiga bir necha marta namoyish etilardi: "Men Broadway teatri, Juni yopiq va yopiq bo'lganligi haqida xabar berishim kerak Shunday qilib, taxminan ikki oylik muddatga egasi TA Vah janob Juni tark etdi va endi Sidney hududida istiqomat qiladi. "^[1]

Keyinchalik NSW o't o'chirish brigadalari avvalgi muxbir janob T .Aning singlisi Miss L. Vaxdan maslahat olishdi. Vah, bu bino "hozirda yopiq va litsenziyani davom ettirish talab qilinmaydi va binolar sotuvga qo'yilgan".^[19][1] Keyin teatrlar va jamoat zallari 1971 yil 21 yanvardan boshlab teatr litsenziyasini bekor qildi. Fayl yopildi.^[1]

June va tumanlarni rivojlantirish assotsiatsiyasi (JADDA) 1975 yil 25 oktyabrda "iyun va Illabo mahalliy boshqaruv idoralari hududida ijtimoiy, ko'ngilochar, madaniy va tijorat faoliyatini rivojlantirish" maqsadida o'tkazilgan jamoat yig'ilishida tashkil etilgan (uning Konstitutsiyasiga muvofiq). 1977 yil 25-noyabrda JADDA Afiniy teatrini sotib oldi, iyun va Illabo kengashlari birgalikda mulkni vasiylikni qabul qilishdi. Sotib olish narxi 20 000 AQSh dollarini faqat assotsiatsiya tomonidan kengashlar tomonidan qo'yilgan mablag'larsiz ta'minlangan.^[1]

Litsenziya olish uchun arizada,^[20] Shiftni, polni, bo'yashni va boshqalarni ta'mirlash uchun qurilish ishlari qiymati 45000 AQSh dollarini tashkil etganligi to'g'risida eslatma berildi. Bundan tashqari, Alan McEwan va Dal Eisenhauer tomonidan jamoadan ko'tarilgan deb da'vo qilingan $ 60,000 bilan sotib olish narxlari bo'yicha 20,000 dollarlik kelishuvlar (ularning intervyularida, 2003 yil). Mahalliy kengashlarga berilgan homiylik tufayli, bu deyarli jamiyatning kengashlarga 60 ming dollar berganligini anglatardi.^[1]

JADDA 1977 yil 7 dekabrda teatrlar va jamoat zallari ma'muriyatiga binoning teatr sifatida qayta ochilishini so'rab murojaat qildi. 1978 yil dekabrda JADDA yana 35 millimetrli filmlarni namoyish etishni xohlaganligi to'g'risida xat keldi.^[21] Teatr ilgari litsenziyalangan paytdan boshlab proektsion qutining me'yoriy standartlari o'zgargan va shu sababli qayta ishlatish uchun kattalashtirish kerak edi. Proektsion qutiga tutunni qulflash uchun rejalar tayyorlangan bo'lsa-da (13/11/81), filmlarni namoyish qilish uchun o'zgartirishlar va takliflar bekor qilindi.^[1]

Shu bilan birga, kotibaning pochta xabarlariga javob yozmasligi, tashkilot ijrochisining ommaviy iste'fosi va Teatr va jamoat zallari so'rovlariga javob bermaslik bilan bog'liq keyingi muammolar yuzaga keldi. Bu 1985 yilda Bosh ro'yxatga olish idorasi tomonidan mulk huquqini qidirishni izlash vakolatlarini ilgari surdi. Tashkiliy qiyinchiliklar tufayli teatrlar va jamoat zallari hokimiyati (unvonlarni qidirib topgandan so'ng) iyun kengashiga (11/3/85) mos kelishga qaror qildi. Jamoatchilik guruhining sustlashishi natijasida June Kengashi binoni nazoratga oldi. Dan hisobot Hukumat me'mori 1985 yilda mavjud bo'lgan qoidalarga binoan, chiqish joylari faqat kiyim doirasida 350 va savdo rastalarida 400 o'rinni egallashga imkon bergan.^[22] Hisobotga ilova qilingan fotosuratda (28/5/86) 1978 yil kulrang, ko'k va oq rang sxemasi ko'rsatilgan.^[1]

1986 yildagi o'zgarishlar ichki va tashqi qismlarning ba'zi dekorativ fazilatlarini pasaytirdi, ehtimol binoni "zamonaviylashtirish" ga urinish. O'sha paytda meros haqida ozgina ma'lumot bor edi (agar u 19-asrning boshlari bo'lmasa), NSW uchun meros to'g'risidagi qonun yaqinda kuchga kirdi. Fasaddan chiroqlar va neonlarni echib tashladilar, do'kon oldidagi qorong'i plitkalarni haddan tashqari bo'yashdi, chipta qutisini olib tashlashdi, shiftdagi yog'och bezakni yopib qo'yishdi yoki olib tashlashdi, yon devor panjurlari o'rniga derazalar o'rnatildi va chiroqlar Art Deco-ning orqa plitalari va kiyinish doirasi balustrati tok va panjara naqshlari olib tashlandi.^[1]

1908 yilda ishlab chiqarilgan "Teatrlar va jamoat zallari to'g'risida" gi qonun va jamoat zallari (umumiy) to'g'risidagi nizom, 1977 yil, 1990 yilda bekor qilindi. Yangi qonunlar, 1989 yilgi mahalliy hokimiyat (teatrlar va jamoat zallari) ga o'zgartirishlar kiritish to'g'risidagi qonun kuchga kirdi. U litsenziyalash nazorati va boshqalarning vazifalarini kengashlarga topshirdi.^[1]

1998 yilda tashqi ko'rinishi bo'yalgan va oshxonaga aylangan do'konga qo'shimchalar kiritilgan. Bu qisman NSW Heritage Office-ning granti bilan amalga oshirildi, uning umumiy qiymati, Heritage Office-ga ko'ra $ 28,000. Qisman sug'urta "muammolari" tufayli jamoat guruhlari va kengashlari vayron bo'ldi HIH sug'urtasi Guruh, teatr umumiy dam olish markazi sifatida yopilgan.^[1]

2003 yilda June Shire Kengashi yangi tibbiy markaz qurish uchun binoni buzishga harakat qildi. Ommaviy munozaralardan so'ng, binoga may oyida oraliq meros ro'yxati berildi va noyabr oyida Davlat merosi ro'yxatiga kiritilganida buzilishdan saqlanib qoldi.^[23][24][25]

Keyinchalik bino qayta ochilib, zamonaviy talablar asosida ta'mirlanib, avvalgi Afiniy teatri nomiga qaytarildi.^[26][27][28]

2016 yilda teatr yangi ekran va fortepianoning xayriya mablag'larini oldi.^[29][30] 2017 yilda mahalliy hamjamiyat a'zolari 20 yildan ortiq vaqtdan beri teatrning kiyinish to'garagini yangilashdi.^[31] 2018 yilda yangi yoritish va ovoz tizimlarini o'rnatish uchun 48,800 dollar mablag 'ajratildi.^[32]

2018 yildan boshlab bino jamoat zali sifatida ijaraga olinadi.^[33]

Yunon muhojirlarining kino sanoatidagi o'rni

Afiniy teatri 50 yildan beri NSWdagi kinoteatrlarda ishlashga yunonistonlik immigrantlarning qiziqishini anglatadi v. 1910^[1]

Yunoniston fuqarolarining NSWga immigratsiyasi Ikkinchi Jahon Urushidan keyingi ommaviy immigratsiya davrida kelganlarga nisbatan 1950 yilgacha kelganlar uchun iqtisodiy barqarorlikning sezilarli farqlarini ko'rsatdi. Ikkinchi Jahon Urushidan oldin yunon muhojirlarining soni oz bo'lgan va ular zanjirli migratsiya tizimiga amal qilgan. Ya'ni, oilaning bir yoki ikki a'zosi kelib, boshqa yunonlarda ishlagan, o'zlarini biznesning biron bir shaklida tashkil qilgan, keyin oilaning yoki do'stlarning bir yoki bir nechtasini ushbu biznesda chiqib ishlashga homiylik qilgan. Korxonalar boshqa yunonlarga xizmat ko'rsatish uchun emas, balki anglo-kelt aholisiga xizmat ko'rsatish uchun tashkil etilgan.^[1]

Ushbu muhojirlar tez-tez qishloq shaharlariga borib, o'zlarining kichik ovqatlanish turlarida - oziq-ovqat do'konlarida yoki avstraliyalik taomlarni tayyorlaydigan kafelarda o'zlarini tashkil etishdi. Keyin bir qatorlar o'sha shaharlarda kinofilm taqdimotiga o'tdilar va yana Angliya-Keltlar aholisi uchun narxlarni ta'minladilar. Tasviriy teatrlarning menejerlari bo'lish, shuningdek, yunon muhojirlariga shahar jamoalarida katta mavqega ega bo'lishlarini ta'minladi va ularni ushbu jamoalarga yaxshi qo'shilishlariga imkon berdi.^[1]

19-asr va 20-asrning boshlarida yashagan yunon muhojirlari asosan orollardan (xususan, Kithera), qirg'oq bo'yidagi shaharlardan va ichki qishloqlardan kelib chiqdilar, ular dehqonchilik tarixi bilan tavsiflanadi, ko'pincha rasmiy ma'lumotga ega emaslar. 1911-1947 yillarda NSWga kelganlarning deyarli yarmi metropoliten bo'lmagan joylarga joylashdilar.^[1]

Taxminan 1915 yildan 1960 yillarning boshlariga qadar NSWdagi 116 mamlakat kinoteatrlari bir muncha vaqt 57 shaharda 66 yunon muhojiri tomonidan boshqarilgan. Ushbu shaharlarda yunon eksponentlari tomonidan o'ttiz to'rtta yangi kinoteatr qurildi. Ma'lumki, ushbu immigrantlarning kamida 61 nafari kinofilmlar ko'rgazma biznesiga kirib borgan paytgacha o'zlarining oziq-ovqat bizneslarining egalari bo'lgan.^[1]

Laurantus birodarlar ushbu kelish modelini moslashtirdilar. Nikolay Yunoniston tomonidan boshqariladigan mamlakat kafesiga bordi. Nikolay kafeni sotib olguncha Jorj Sidneyda ishlagan, keyin u oilasiga otasi kabi hukmronlik qilgan bo'lsa-da, u akasi uchun ishlashga ketgan. Jorj Kythera orolidan 1908/9 yilda kelgan. 20-asrning 20-yillariga kelib, Nikolas Narrandera (Globe) teatrini sotib oldi (keyinchalik Plaza); u 1925 yilda yoqib yuborilgan va 1927 yilda yangisi ochilgan. Bu erda Jorj shoumaning mahoratini rivojlantirgan. U o'zini skripkaga o'rgatdi, ijro etardi va umuman shou-biznesni yaxshi ko'rardi. U 1928 yilda turmushga chiqdi va iyun oyida Nikolayning ushbu shaharga bo'lgan kinosiga qiziqish uchun joylashdi. Bu mahalliy tadbirkor Ben Kammins bilan hamkorlik edi. Ularning uchtasi ijaraga olgan Monreal teatri, Tumut, keyin o'z operatsiyasini Laurantusning qayiniga topshirdi. Ular xuddi shunday qildilar Gundagay Teatr. 1935 yilda Rio teatri Nikolas yoki ikkita aka-uka tomonidan sheriklik asosida qurilgan (qaysi voqea bog'liqligiga qarab). 1936 yilda Nikolas Reks teatrini qurdi Korova.^[1]

1939 yilda u kinoteatrdan chiqib ketmoqchi edi. Oilaning boshqa a'zolari Gundagay va Tumutda qolishgan bo'lsa, Nikolay Jorjdan Jyundan voz kechishini va Narranderadan tashqarida unga qarashli mulkka qarashini talab qildi. Jorj ketib, rasmli teatrga ega bo'lishidan besh yil oldin edi "Liverpul", Sidney, o'z shartlariga binoan.^[1]

O'g'li va qizining so'zlariga ko'ra, Jorj Juni tark etishidan norozi bo'lib, juda achchiq edi. U shaharni va Afiniy teatrini yaxshi ko'rardi. U ayvonda keng fasiya uchun filmlarni e'lon qilgan barcha reklama taxtalarini bo'yab chiqdi. U reklama suzishlarini va tadbirlarini tashkil qilishni yoqtirardi. Bizning tanlovimiz uchun (1931 yilda ishlab chiqarilgan) uning otasi, onasi va Deyv otlari va eskirgan shudgorlari bilan Broadway markazidagi keng tabiat qo'riqxonasida turishgan. Janet Gaynorni Delicious-da reklama qilish uchun ulkan reklama taxtalari yuk mashinasining yon tomonlarini yopib qo'ydi (1932 yil to'rt kecha davomida bron qilingan). Kichkina yuk mashinasini butunlay yopib qo'ygan suzuvchi shahar bo'ylab Betti Stokfild bilan qo'shiq shahri bo'lgan Musical Gem-dagi Motion Picture Art-ni reklama qilib yurdi. Ushbu misollardan Piter Laurantus qo'lidagi fotosuratlar va foyda va tantanali kechalar uyushtirilgan ishtiyoqdan Jorjning Juni uchun boylik bo'lganligi aniq.^[1]

Yunonistonlik muhojirlar tasviriy teatrlarga ega bo'lgan joylarda, ularning aholisi bir vaqtning o'zida yiliga o'rtacha 20 dan 31 martagacha kinoteatrga tashrif buyurgan paytlarida shaharning asosiy o'yin-kulgilarini nazorat qilishgan. Bu, shuningdek, ro'yxatdan o'tgan klublar bo'lmagan, mehmonxonalarning kechki ochilishi bo'lmagan, televizor bo'lmagan va deyarli professional sport bo'lmagan davrda edi. Ular [yunon shoumenlari] o'zlari faoliyat ko'rsatgan jamoalarning axloqiy va ijtimoiy qadriyatlariga bevosita ta'sir ko'rsatdilar. Ular milliy va xalqaro tadbirlarni qishloqlarga badiiy filmlar, kinostudiyalar va hujjatli filmlar ko'rinishida olib kelishdi (Cork, 1998)^[1]

Tavsif

Afiniy teatri, asosan iyun oyidan kattaroq shaharlarda va Sidneyning aholi zich joylashgan chekkalarida mavjud bo'lgan ko'plab teatrlarga o'xshash keng, ta'sirchan jabhaga ega. Shaharga shimoldan kirib, temir yo'l kesishmasiga qaraganida uning muhim sifati kuzatiladi.^[1]

Tashqi ko'rinishi

Bino g'ishtdan qurilgan, o'zining old tomoni tsement bilan qurilgan. U erda osilgan konsol mavjud ayvon chuqur bilan fasya, pastki qismida teatrning ikkita do'koni va eshiklari joylashgan. Tentli fasya va sofit so'nggi yillarda almashtirilgan ko'rinadi. Do'konlar vitrinali vitrinalar va kafel bilan qoplangan iskala va plintuslar haddan tashqari bo'yalgan. Teatrning sirlangan eshiklari old tomonning shimoli-g'arbiy qismida joylashgan bo'lib, agar asl bo'lmasa, asl nusxada ko'rinadi yorug'lik nuri yuqori oynalar. Tentning ustida ikki qavatli tirgaklar (yoki "ingichka") pilasters ) har bir uchida an entablature va kichik korniş. Entablaturadan biroz pastroqda etti oynadan iborat qator joylashgan. Ikkala, har bir uchi, kiyim doirasining orqa qismini yoritib turing; markaziy uchta (hozirda blokirovka qilingan markaz) proektsiya qutisi uchun. Hajmi jihatidan ularning barchasi funktsionaldir, lekin ularning tarkibi butun jabhaga nisbatan dastlab teatr belgisiga, yuqoridan bitta chiroq o'rnatilgan va har ikki uchida egizak tirgaklar orasidagi qavslangan lampalarga bog'liq edi. Agar bugungi kunda ba'zi derazalarning nisbati g'alati tuyulishi mumkin bo'lsa, dastlab bir xil oynaning nisbati va o'lchamlarini takrorlash orqali birlashtiruvchi ta'sir mavjud edi. Har bir oyna bir xil o'lchamdagi va shakldagi oynaning ko'pligi bo'lib, u zamonda (1920-yillarda) po'latdan yasalgan, zamonaviy sanoat tipidagi derazalar kabi ko'rinardi. To'liq blokirovka qilinganidan tashqari, boshqalarning aksariyati asl nusxaga nisbatan befarq bo'lmagan katta oynalarni almashtirishgan. Asl nusxadagi panel nisbati NSWdagi Gruziya binolaridagi, masalan, Macquarie Fields 'yoki Glenfield uylaridagi binolarga yaqin bo'lganligi uchun juda muhimdir. Ammo 19-asrning boshidagi ushbu uylarning derazalaridan farqli o'laroq, oynalarni takrorlash boshqacha. Gruziya misollari uchta, to'rttasi yuqoriroq, Afinaey teatridagi ettita derazaning kattaroqlari to'rtburchak, temir karkasli derazalar va to'rttasi yuqorisida joylashgan. Ko'p oynali oynalarni binoning klassik uslubiga mos ravishda tiklash kerak.^[1]

Fasad devoridan mahkamlangan sharsimon opalescent shar lampalaridan tashqari, dastlab parapet devorining yuqori qismidan bir metr balandlikda, metall bezak me'yorlari bo'yicha yana uchta chiroq bor edi.^[34] 1954 yilgi fotosuratda faqat bittasi parapetda mavjud edi. Bundan tashqari, parapet neon trubkalarda, shuningdek, to'rtta tirgakning har birida vertikal dekorativ neon bilan bir qatorda belgi paneli bilan tasvirlangan. Tentning pastki chetlari atrofida uzluksiz oq rangli chiziqli neon bor edi (1954-59 yillarda teatrni boshqargan, ilgari Manion xonim Kingsford-Archer xonimning so'zlariga ko'ra).^[1]

Binoning yon tomonlari dastlab derazalarga ega emas edi, aksincha, vertikal ravishda siljigan yog'ochdan yasalgan va choyshab panellari (yoki panjurlar) bor edi. Yuguruvchilarning pozitsiyasini g'isht ishlari. Kechasi shamollatish uchun panellar qisman yoki to'liq siljiydi, umumiy ochilish oynali maydonning o'lchamiga teng. Panellar, shuningdek, gruzin ulushiga ega bo'lgan yog'och "oynalar" ga bo'lingan. Hozirgi alyuminiy bilan o'ralgan derazalar asl dizayni uchun juda ko'p e'tiborga olinmasdan, serquyosh ko'rinadi.^[1]

Binoning 74 yillik tarixi davomida hojatxonalar, orqada, kanalizatsiya qilinmagan tashqi uylardan bino ichkarisiga kirish imkoni bo'lgan kanalizatsiya qilingan g'isht qo'shimchalariga qadar "ilgarilab ketgan".^[1]

Tashqi ko'rinishning me'moriy uslubi

Teatrning tashqi ko'rinishi "ingichka klassik" deb atash mumkin. Art Deco uslubi Avstraliyada paydo bo'lishidan oldin, bu avvalgi dizayn Klassik va bezaksiz funktsional o'rtasidagi o'tishni ifodalaydi. Shubhasiz, unga AQShning teatr arxitekturasi ta'sir qilmagan, u bezak bilan qoplangan va 1930 yilga kelib klassik, Uyg'onish davri, Maya, Ispaniya, Tudor, Moorish va xitoylik bezaklarni Art Deco-ga zamonaviy harakat uchun to'xtamasdan o'zgartira boshladi. Evropadan kelib chiqqan. 1932 yil AQSh zamonaviy harakatni tan olganida, ular "Xalqaro uslub" deb atashgan.^[35] Hatto Britaniyada ham 1929 yilda bir nechta rasm teatrlari yanada soddalik bilan loyihalashtirilgan edi. Londonda Shepherds Bush pavilyoni bor edi, 1923 yilda u Britaniya me'morlari qirollik instituti (RIBA) tomonidan katta hajmdagi tekis g'isht bilan mukofotlandi. uning klassik korniş ostida. Londonning Kensington shahridagi Odeon (1926) klassik uslubdan uzoqlashib ketgan, ammo baribir korniş va entablaturali dizayn uslubini namoyish etdi.^[36] Ko'plab avstraliyalik me'morlar RIBAga tegishli bo'lganligi yoki ingliz tilidagi arxitektura jurnallariga obuna bo'lganligi sababli, Kaberry (asli ingliz) va Chard ushbu "kamroq toza" va biroz soddalashtirilgan klassik dizaynlarni ko'rib chiqishgan. O'sha paytda ko'rilgan jurnallarga qarab, me'morlarga 1925 yildan 1930 yilgacha klassik bezakdan minimalist klassik, deyarli bezaksiz binolarga o'tadigan shved dizayni ko'proq ta'sir qilgan bo'lishi mumkin.^[37] Shubhasiz, bunday soddalik Gay Krik va Bryus Furseni o'z qirollari teatrlari dizaynlarida 1935 yildan boshlab ta'sir ko'rsatgan (1923 y.) Berlinning Universum kinoteatri bo'lgan Erik Mendelsonning Zamonaviy Harakat Ekspressionist dizaynlari paydo bo'lishidan oldin bo'lgan (Thorne & Cork, 1994: kirish) .^[1]

Ichki ishlar

Old lobbi kichkina bo'lib, asosiy zinapoyadan yon tomonga, o'ng tomonga, kiyim doirasiga. Asl chiptalar qutisi, (old tomoni va yon tomonlari kichik "peshtaxta" dan, taxminan 900 mm xoch, chuqurligi 1300 mm va soyasi ikki metrdan oshiqroq) bo'shliqda joylashgan.^[38] U 1978 yilda olib tashlangan. Hozirda zinapoyaning devorida "devorga teshik" chiptalar oynasi mavjud. Oddiy keng ikki qavatli eshiklar zalning savdo rastalari darajasiga kirishni ta'minlaydi. Do'konlar qavati yog'och, raqs va yopiq sport tadbirlari uchun tekis (1978 yildan). Orqa stendlar ustidan mahkamlangan kiyim doirasining qismi chuqur, qoplama bilan o'ralgan po'latdan yasalgan temir arqon (T&PH; fayllar) tomonidan qo'llab-quvvatlanadi, agar devorlar orqa xonaning har ikki tomoniga ikki xonaga boradigan bo'lsa, 12 metr yoki undan uzoqroq masofani bosib o'tadi. Arxitektorlar shiftni orqa stendlar devoridan nurning soffitigacha egib, keyin yana aylananing chetiga egilib, nurni "yashirish" usulidan foydalanganlar.^[1]

Liboslar doirasining reja shakli me'morlar Kaberri va Chard ishlariga xosdir. 1920-yillarning boshlarida ularning doirasi korkuluk naqshlar (ularning to'g'ri markaziy qismlari ikkala tomonga yonbosh qutilarga o'ralgan holda) gilamchada klassik taqinchoqlar va kartoshkalar. Taxminan 1927 yildan ular bezaksiz tekis panellarga dizayni soddalashtirdilar (Magnet teatri, Lakemba buzilgan; Monreal, Tumut). June shahridagi panellarni me'morlardan boshqa shaxslar bezatgan. Me'morlar tomonidan teatrlarida ishlab chiqilgan yon qutilar, ba'zi bir klassik asosdagi dizayndagi teatrlashtirilgan soxta devorlarni tugatgan yoki tugatgan, chunki bu erda ular hanuzgacha mavjud bo'lgan ikkita misoldan faqat bittasini o'z ichiga oladi (ikkinchisi Roxy, Leeton).^[1]

Asl proscenium "rasm ramkasi" bo'lib, dekorativ motif sifatida diagonal belbog'lardan foydalanilgan. 1959 yilda Cinemascope taqdimotlari uchun ochilishni 3 metrga yaqin kengaytirish uchun kerakli miqdordagi devor bilan birga olib tashlandi. Shu bilan birga ochilish balandligi tushirildi. Bu engil materiallarda qurilgan. Amaliy panellarning ba'zi bir shakllari "oddiylik" ni engillashtiradi va ichki makonning umumiy mavzusiga yaxshiroq mos keladi.^[1]

Devorlari ovolo korniş shakllanishida klassik "tuxum va dart" bilan ishlangan gipsdan iborat. Devor panjurlarining ichki qismi belgilangan urish Rim davridan beri ishlatilgan odatiy geometrik naqsh bilan. Bu ko'cha eshiklarining ustki oynalaridagi xoch bilan bir xil, ularning ustiga diagonallar joylashgan. (Ular Rim va Pompeydagi teatrlar tasvirlangan devorlarga bo'yalgan va Richard C Bicham tomonidan Uorvik universitetidagi dastlabki Rim bosqichlarining nusxalarida ishlatilgan panjara ishlarida ko'rilgan).^[1]

In the introduction of the Movie Theatre Heritage Register for New South Wales, 1896 1996 five stages of building development for cinema design are described. In the teens and early twenties of the 20th century in NSW, most suburban and country cinemas had the rooftruss structure fully visible with either no ceiling or one immediately beneath the roofing material. This was the case for the early version of the Enmore Theatre, the Australian cinema at Spit Junction (demolished), and Odeon, Randwick (demolished). This was referred to as Stage Three development.^[1]

Stage Four development occurred from the late teens, up until the Great Depression. It was when some theatrical decoration was being added. The Movie Theatre Heritage Register particularly mentions the architects, Kaberry and Chard as key people in this development. They brought the ceiling down to be at the level of the lower chord of the truss, but still expressing that chord as a "beam". It was, however, almost universal not to take the lower chord to the springing point off the walls but connect it some three or four metres along the upper chord of the truss. This provided the necessary height for projection from the rear dress circle over the audience, and for an imposing proscenium. As a result, there is a sloping segment of the ceiling each side of the central flat section. It also meant that side walls could be lower than if a complete flat ceiling was designed, and of course, it was more economical, something of which Kaberry and Chard were well aware of (see K&C;, 1936). This technique, however, produced the risk of the extension of the upper chord beyond the lower chord (of the truss) deflecting and pushing the side walls out. To prevent this, these and other architects installed tension rods from the springing point up, on a more shallow rake, to be fixed some distance along the lower chord of the truss. These rods were exposed as at the Athenium Theatre. It was only after the Great Depression when a new style of decorative architecture later known as Art Deco took hold, that the whole truss, including the tension or bog'lash tayoqchalari, were covered beneath by generally, plaster ceilings. (The sloping side segments including the tie rods were now hidden by stepped gips ishlari ).^[1]

The other rather clever solution to the economic confines, presented by suburban and country cinema designs, was to visually express the subsidiary beams that tied the trusslar together, and the system of panelling required for the lining material. This was done at the Athenaeum with all the structural and panel-framing picked out in a dark tone so the whole became a decorative geometric pattern. The horizontal section of the ceiling was divided into three segments across the width of the building. In the opposite direction the five roof trusses formed four segments, thus 12 panels were formed. In each there were nine smaller panels a large central panel of panjara -work surrounded by four small square corner panels and four elongated rectilinear side panels. Wooden lattice-work had been used for centuries in middle-eastern (Arab) countries, but appeared as a form of decoration in England in 16th century windows and in 18th and 19th century furniture. It was used in ceilings of picturetheatres as a means of allowing stale hot air to escape into the roof space and through roof ventilators. Unfortunately this decorative ceiling was compromised in, it is assumed, 1978, when a plain ceiling lining either covered it or replaced it.The remaining elements of the interior are the stage, dress circle and conversion of the two shops as annexes to the auditorium.^[1]

The stage is relatively small to avoid the stringent rules for fire control, yet provide enough space for live performance. The widening of the opening in 1959 permitted a screen size larger than that in many suburban, country and even poytaxt city theatres.^[1]

The dress circle with access from the lobby on one side, possesses an favqulodda chiqish stair on the other, also against the side wall. Whereas the stalls only ever had removable seating in banks (to clear away for social functions), the circle has upholstered fixed seating with wooden arm rests as was typical for the 1930s. The capacity for this portion of the auditorium commenced at some 400 but has been reduced to somewhere between 200 and 300. The seats need re-upholstering and repair. The projection box was minimum in size when constructed, and would need to be extended sideways to provide adequate facilities for projection and yoritish control for live shows.^[1]

The two shops at the side of the theatre entry have been converted into a store for chairs, mainly, and a kitchen / refreshment bar that opens into the back stalls area. The latter work and some external painting was completed in 1998 at a cost of $28,000, some of which funds was from the NSW Heritage Office.^[1]

Decoration:The architects had, at the time of construction of the theatre, great integrity in the use of classical style and its ornamentation. They were also being slightly influenced by Functionalism, but only slightly. What has been confusing to observers of the interior are two elements of Art Deco style, and embellishments to the panels on the balustrade-front of the dress circle, and on the false side-of-stage walls. It is contended that the Art Deco dado moulding and centre-piece of side false-wall panels (and as a shift ko'tarildi in the lobby) were added after construction. Art Deco decoration did not become apparent in theatres in Australia until after the Great Depression (i.e. from 1933 onwards) yet this theatre was designed in late 1928 to early 1929, being completed in October that year.^[1]

The corner and central motifs of the dress circle panels are of an impression of panjara -work over which is a spray of vine leaves. The central motif had an inverted shell-like light fitting affixed, as seen in 1954 photographs. These photographs depict a sheen in these panels that appears metallic. Blanche Heffernan (formerly Cummins), related that the decoration was "all gold".^[39][1]

Peter Laurantus (in 2003) mentioned that his father, George, and mother worked hard together without employees to get the theatre up and running during the Depression (it commencing in New York only two weeks after opening the theatre). Although the Depression may have had an effect on attendance, Entertainment Tax receipts showed a decline in audiences across Australia towards the end of the 1920s. Perhaps the enthusiasm for silent films was waning. However, despite the Depression, receipts began to grow soon after sound films were introduced (1929 30, depending upon the theatre). By 1934 new cinemas were being built to cater for the growing trade. In 1935 George Laurantus and his elder brother, Nicholas, had obviously accumulated profits from their theatres, and wanted to be in this expansion, so built the Rio Theatre at Lockhart. It possessed stock Art Deco ornamentation, one of which is identical to that at the Junee theatre. Another, a strip as diaper decoration, is similar to the second Art Deco ornament at Junee the dado line. The Lockhart theatre had other painted decoration and rough-cast plaster in free swirls that appeared to be very Mediterranean, most possibly Greek in character. (The Laurantus brothers were born on the island of Kythera and came to Australia as immigrants).^[1]

The trellis and vine motifs may represent basket willow (or similar) trellises upon which grape vines were trained in the 19th and early 20th centuries in Greece. According to the Australian Greek architect, Chris Tsioulos, the vine (and these appear to be akin to Shiraz grape vine leaves) is a traditional feature of Greek life and decoration. Certainly Charles Pickett, architecture curator at the Powerhouse Museum has not so far been able to identify the motif from the Wunderlich presslangan metall kataloglar.^[1]

When Albert Thomas Manion purchased the theatre from Mr and Mrs P ollard in 1954 for his son, the then Mrs Manion^[40] asked about this unusual decoration and was told that it was put there by "the Greeks", meaning George Laurantus, or he and his older brother Nicholas. (From conversations with George's children it was Nicholas who called the shots until after World War II when George bought into a theatre on his own).^[1]

It is contended that the dado decoration (possibly replacing a timber dado moulding similar to that at the Montreal Theatre, Tumut), the second Art Deco motif (used as a centre-piece backing plate for lamps on the false splayed walls), the vine-leaf elements and the rough plasterwork above the dado moulding, and as backing for the vine-leaf elements, were all added around 1935. The less-rough plaster below the dado moulding is similar to that at the Tumut theatre, the material above is quite different. Judging by its covering some of the edge of the egg-and-dart cornice moulding it would appear to have been added after that moulding had been affixed (i.e. in 1929).^[1]

Peter Laurantus has told me that his father loved managing the Junee theatre. Perhaps, when attendances picked up, with the establishments of sound films, and funds became available, he wanted to put his "Greek stamp" on the theatre. In the late thirties he wanted to remain at the theatre but the elder brother, to put it in his son's word, forced George to leave and work on Nicholas' property outside of Narrandera.^[1]

The name of the theatre, albeit a corrupted spelling, also has Greek connotations being the temple of the goddess Athene, which was used for teaching. Within the original proscenium hung deep blue curtains with a large applique of overlapped letters, A and T in a highly decorative form on each of the two drapes. They also had a wide gold band a little up from the hemline. From an early photograph, a valance appears to have three crossed-hammer motifs on it. The arches in the false splayed walls had full length dark blue repp fabric curtains with bottom gold fringe and draped gold cords and tassels near the top. The present curtains are blue for the stage and nothing in the archways.^[1]

The former heritage adviser for Junee Shire Council, David Scobie, believes the present colouring of the false splayed walls and dress circle front was done at the time of the making of the film The Crossing (1990). A photo on the Theatres and Public Halls administration files, taken after it had become the JADDA Centre, shows a colour scheme of grey, white and blue (the dado moulding being blue). In The Crossing, for the dancing competition scene, the dado moulding is bright red and the walls white to off-white. The dress circle front is not shown in the film but its current finish certainly appears to have been done by a scenic artist to provide an "antique" metallic impression. The dado moulding has returned to being blue (with earlier gold showing through) but the lower portions of the walls are cream. The ceiling and upper walls appear to be as when painted v. 1978 (for the JADDA).^[1]

The integrity of the item has only been compromised by superficial alterations (such as change of windows and removal of light fixtures on the facade;; replacing side wooden shutters with windows; changing the original proscenium for a wider "plain" stage opening; and relining the ceiling). The principal parts of the building are intact, thus retaining its original theatrical aura.^[1]

Meros ro'yxati

Due to its now rarity, as a building-type, the Athenium Theatre symbolises, for the State, an association with past events, persons and groups who contributed or participated in an important and cultural phenomenon of the 20th century, namely "movie going".^[1]

Due to its rarity it symbolises the use of a cinema building as the social centre of a town with its being surrogate town hall. This and the role of the community (JADDA) organisation from 1976/7 accord the building the status of social significance for the State.^[1]

The building is highly representative as a good example of the design-work of theatre architects, Kaberry and Chard it being one of only three remaining relatively intact out of a large body of work across the State.^[1]

The building has as association with Greek immigrant business and benefactor, Sir Nicholas Laurantus, and through its rarity, symbolises his interests in cinema operation in the Riverina mintaqa.^[1]

It also is one of the few remaining buildings in NSW that has a direct connection with Gladys Moncrief OBE, and the country touring that she and lesser Australian stage artists did in the 1920s, 30s, and 40s.^[1]

Of the 116 movie theatres operated by Greek immigrants in NSW, this one unusually possesses added decoration (presumably by George Laurantus, brother of Nicholas) in the form of a trellis and vine leaf motif. It provides a "Greek overlay" to portion of the auditorium. This exhibits significance in aesthetic terms in relation to the importance of the Greek contribution to developing cinema operation in NSW^[1]

Athenium Theatre was listed on the Yangi Janubiy Uels davlat merosi reestri on 9 January 2004 having satisfied the following criteria.^[1]

Ushbu joy Yangi Janubiy Uelsdagi madaniy yoki tabiiy tarixning yo'nalishini yoki naqshini namoyish etishda muhim ahamiyatga ega.

It is important in the course or pattern of NSW's cultural history because, like the very few remaining picture theatres of its era it is of historic, social and cultural significance due to "its association with past events, persons and groups who contributed or participated in an important social and cultural phenomenon of the 20th century, namely "movie going". The importance of such historical phase or phenomenon may be gauged. . .by its physical manifestations, including the number of theatre buildings then existing [from 1910 to 1960], the amount of employment created, the fact that "picture going" was second only to sport as a leisure time activity, ands by its impact on popular taste of the time where concerned with fashion, design generally, language, music and behaviour".^[41][1]

Bu joyda yangi Janubiy Uels tarixining madaniy yoki tabiiy tarixi muhim bo'lgan shaxs yoki shaxslar guruhi bilan kuchli yoki maxsus birlashma mavjud.

The building has an association with Sir Nicholas Laurantus, Greek immigrant, businessperson and philanthropist, for this and other cinemas in the Riverina Region of NSW. The theatre generally exhibits the early 20th century efforts of Greek immigrants (with George Laurantus) to integrate into and supply entertainment facilities for the Anglo-Celtic population.^[1]

The building has an association with Gladys Moncrief, OBE, who was the most famous soprano in Australia since the retirement of Florence Avstraliya, for the period of the 1930s to the end of the 1940s. The building symbolises those lost country theatres, in NSW, in which Moncrief appeared in major Sydney-produced productions on tour.^[1]

At a local level it has an association with the present Heffernan family through the grandfather (Ben Cummins) and great-grandfather of Senator Heffernan, for their involvement in cinema at both the Lyceum and Athenium Theatres.^[1]

Ushbu joy Yangi Janubiy Uelsda estetik xususiyatlarni va / yoki yuqori darajadagi ijodiy yoki texnik yutuqlarni namoyish etishda muhim ahamiyatga ega.

The theatre building stands out and is recognisable as a theatre. This visually important element used to be a feature of many towns but the list of picture theatres in NSW towns at 1951 demonstrates that it is now rare. That is, it possesses landmark quality.^[1]

The layering of the vine and trellis decoration uniquely exhibits the influence of the management of a Greek immigrant, providing a flavour of the "peasant" population of the island of Kythera that existed at the turn of the 19th into the 20th century.^[1]

In 1929, the architects were developing towards a Functional architecture, away from the revivalist styles of the twenties and former decades. It was in the mould of that development in Sweden, but whereas Sweden continued on the road to Modernism, Australia, like USA, temporarily deviated into the style that would later be known as "Art Deco". It demonstrated what was a forward thinking process by these architects. The use of structure and construction, through simple carpentry, to provide a decorative ceiling (not now visible) also fits this assessment of Functionalism used by Kaberry and Chard.^[1]

Bu joyda ijtimoiy, madaniy yoki ma'naviy sabablarga ko'ra Yangi Janubiy Uelsdagi ma'lum bir jamoat yoki madaniy guruh bilan kuchli yoki maxsus birlashma mavjud.

From entertainment tax receipts, cinema attendance was greater than all other paid-for activities - sport, racing, concerts, dancing, live theatre etc., combined.^[1]

The Athenium Theatre (now Jadda Centre) possesses social significance for Junee being one of the very few, and first towns in NSW where the population came together as early as 1976/7, to buy the town's theatre for community use. Total funds were raised for purchase and rehabilitation (at that time) from the local population, through the organised community group, the Junee and District Development Association which generously vested ownership in the Local council(s).^[1]

The building provides great social significance in an historical sense to the town. Commissioner Simpson, in his Inquiry into the Regent teatri, Sydney (1986) reported: "It is of historic, social and cultural significance because of its association with past events, persons and groups who contributed or participated in an important social and cultural phenomenon of the 20th century, namely "movie going".^[41][1]

It also has social significance for its other role as virtual town hall - the social centre of the town.^[1]

Collectively in Junee, the pubs (and former hotels), the three quarter century old shops and the Broadway Stores, the theatre, the railway station, the banks, the post office, the engine roundhouse, the former printery, the mansion on the hill (Monte Christo), the former flour mill, all provide a social history of a town that is unique in New South Wales.^[1]

Ushbu joyda Yangi Janubiy Uelsning madaniy yoki tabiiy tarixining g'ayrioddiy, kamdan-kam uchraydigan yoki xavf ostida bo'lgan jihatlari mavjud.

For this assessment a table of all country theatres in NSW was revised to omit areas now incorporated into Sydney or Nyukasl where comparison of Census data becomes impossible. The year 1951 was taken as being a high attendance time before television, and without new post-War World II theatres being built or old ones being closed down.^[1]

There were 351 cinema venues in 289 towns in NSW (excluding Sydney and Newcastle). A column was added to the list showing present 2003 status. Less than 10 per cent "exist" as spaces recognisable as original theatres (that is, only 31). Ulardan atigi 11 tasi ichki va tashqi ko'rinishdagi dekorativ ko'rinishga ega. "Juni" teatri 1951 yilda mavjud bo'lgan mamlakat kinoteatrlari tarkibidagi o'n bir kishidan biri yoki faqat 3,1 foizidan biri bo'lib, jim va ovozli filmlarning gullab-yashnagan davrida qurilgan rasmli teatrlarni o'z ichiga oladi.^[1]

Of the 57 theatre commissions identified for the work of the major theatre architectural firm of Kabbery and Chard in NSW, only three remain without being demolished, or considerably adapted. Those three are in Junee, Tumut and Leeton. Junee and Leeton possess the side-of-stage splayed false decorative walls, used as a feature by these architects. Only Tumuthas an original proscenium. All three should be listed.^[1]

The picture theatre/social centre for the town is a rare example that "provides evidence of a [virtually] defunct custom, way of life".^[42] The Junee theatre is rare across the total number of towns in NSW (excluding Sydney and Newcastle). It provides accurate evidence of a significant human activity. Birlashtirilgan. It shows evidence of a rare significant human activity important to a community.^[1]

Bu joy Yangi Janubiy Uelsdagi madaniy yoki tabiiy joylar / muhitlar sinfining asosiy xususiyatlarini namoyish etishda muhim ahamiyatga ega.

With its wide frontage and substantial, imposing, but modest facade, the Junee theatre is a superior building to most constructed at the time in towns of up to four thousand people, and which, in 2003, have either been altered for other uses or demolished.^[1]

In relation to the large body of theatre work of the architects, Kaberry and Chard, it is very typical, or in other words, an excellent example - as good as these architects designed for larger towns.^[1]

The integrity of the item has only been compromised by superficial alterations (such as change of windows and removal of light fixtures on the facade;; replacing side wooden shutters with windows; changing the original proscenium for a wider "plain" stage opening; and relining the ceiling). The principal parts of the building are intact, thus retaining its original theatrical aura.^[1]

Conclusions on Heritage SignificanceThe Jadda Centre building is likely to be of State significance. It meets six criteria for listing on the SHR.^[1]

Shuningdek qarang

Adabiyotlar

Bibliografiya

• Fuller, Dane (2003). Junee centre under attack (Daily Advertiser 24/7/2003).
• Martin, Lawrie (2003). Council to fight JADDA listing (Junee Southern Cross 23/10/03).
• Torn, Ross (2003). Athenium Theatre (JADDA Centre) Heritage Assessment.

Atribut

Ushbu Vikipediya maqolasi dastlab asoslangan edi Athenium Theatre, entry number 01687 in the Yangi Janubiy Uels davlat merosi reestri ostida Yangi Janubiy Uels shtati va Atrof-muhit va meros idorasi tomonidan nashr etilgan 2018 CC-BY 4.0 litsenziya, 2018 yil 2-iyun kuni kirish huquqiga ega.

Tashqi havolalar

Bilan bog'liq ommaviy axborot vositalari Athenium Theatre Vikimedia Commons-da