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1948-49 Theatre Catalog, 7th Edition, Page 53 (43)

1948-49 Theatre Catalog, 7th Edition
1948-49 Theatre Catalog
1948-49 Theatre Catalog, 7th Edition, Page 53
Page 53

1948-49 Theatre Catalog, 7th Edition, Page 53

An Interesting Latin-American Theatre

Not Limited by High Domestic Costs the Lush TACNA is Notable for Its Idea Value and Materials Used

The first of Aprilhtraditionally a day given over to all manner of buffoonery including chocolate-covered soap and sham-covered informationioccasionally rises to shining heights with an event of the first magnitude overshadowing innocuous shenanigans. April I, 1948, was such a date. In Lima, Peru, a first-night audience was treated to a spectacle of} the beaten track of everyday life Wthe opening and dedication of the TACNA, the first theatre to be constructed and operated under the aegis of Paramount International Theatre Corporation.

Said to be the finest theatre in all of Latin America, the TACNA, located on expansive Tacna Boulevard, has been given full benefit of all the latest advances in the art of building. Engineered and built by Florez and Costa of Lima, from the architectural plans of Schlanger, Hoffberg, R e is n e r and Urbann, of New York, the structure is of reinforced concrete with aluminum sheet roofing supported by steel trusses. The walls over most of their interior area are plastered; but in the front facia of the balconyand around the rear-wall portion of the theatre, acoustical rockwool blankets covered with perforated transits are utilized.

0n the outside, too, full advantage has been taken of modern construction materials. The electric sign which silhouettes the name TACNA against an open glass backdrop at day, and beams the legend out in full neon bloom at night defies the elements in its garb of stainless steel. This nonscorrodible, quaisnoble metal also forms an integral part of the marquee signs. These have flasher borders, equipped with Adler letters and Hood the sidewalk with both neon and fluorescent lighting. Gold and white glass mosaic work intensifying the brilliance of parallel rows of neon tubing irradiate the sofTit of the marquee, and for similar enhancement of architectural beauty, some of the predominating freestanding reinforced concrete columns of the interior are also covered with this glass mosaic. The entrance doors give the illusion of continuity from the outside into the lobby of the TACNA with an unbroken sweep, an illusion created for the most part by the use of herculite glass, 3. material new in Latin American construction.

' The TACNA is actually an innovation In theatre building below the equator. Located on one of the principal thoroughfares of the Peruvian capital, the


theatre is the first in Peru to enjoy the luxury of modern air-conditioning. The theatre, which is part of a complex tenstory building where apartments, offices and de luxe shops intermingle, is of fireproof construction and all its furnishings which were flammable are thoroughly fire-proofed.

The coming of the TACNA made an intriguing preview story in the 1947v 1948 THEATRE CATALOG; and a detailed description of design aspects, materials used, and color schemata combined with informative architectsi renderings to infuse a dream theatre with the stuff that facts are made of. Perhaps the term thream theatre-l, is in the nature of an exaggeration since all the plans were complete and only the activity of building was lacking when the original announcement appeared. Since the information given at that time was brimming with details, the editors feel justified in omitting a large portion of the description of the existing theatre since a repetition would serve no useful

purpose. Readers wishing to obtain the complete story are requested to refer to page 8 of the 1947-1948 (Sixth Annual Edition) of THEATRE CATALOG. One of the more interesting facts about the TACNA is the sociological innovation it inaugurated. For years South American balcony customers have been in a social doghouse. Entering the theatre by doors set apart from the auditorium and mezzanine entrance, these economy-minded c i n e m a enthusiasts climb stairs to find wooden benches, concrete steppings, or wooden chairs provided for their sitting pleasure. (Editoris Note: The same conditions of separate entrance and hard wooden benches have prevailed at Philadelphials famed Academy of Music for a good many years. However, in the City of Brotherly Love, no stigma attends those who patiently ascend (by shankls mare) to the stratospheric heights of the Amphitheatre (Peanut Heaven). In fact, some of the towns most worthy citizens and some of musics best friends hear

A MAXIMUM OF GLASS was used in order to achieve openness and a maximum of light. The gold and white mosiac covered marquee is an extension of the mezzanine floor cantilevered over the sidewalk. Along the length of the marquee is a continuous planting box with all-year flowers and shrubs, to both charm the passer-by and improve the view from the large mezzanine and balcony.
1948-49 Theatre Catalog, 7th Edition, Page 53