The stage's proscenium opening was , with an additional in the wings, and a depth of from the footlights to the back wall.

The height of the proscenium opening was . Its first opera season was from October through December 1854.

The proscenium arch was widened to 44 meters and four of the eight major pillars in the auditorium were removed.

After this, the cast-iron columns and struts through a stucco ceiling with dangling teardrop pin architecture, the market hall had been transformed., The building had a revolving stage of 18 meters in diameter and had movable proscenium.

The 24 meters wide proscenium arch is the widest in Europe.  Performances.

A proscenium () is the area of a theatre surrounding the stage opening.

A proscenium arch is the arch over this area.

In ancient Rome, the stage area in front of the scaenae frons was known as the "proscenium", meaning "in front of the scenery".

In the Roman theater, no proscenium arch existed, in the modern sense.

However, Roman theaters were similar to modern proscenium theaters in the sense that the entire audience had a restricted range of views on the stage—all of which were from the front, rather than the sides or back.

The oldest surviving indoor theater of the modern era, the Teatro Olimpico in Vicenza (1585), is sometimes incorrectly referred to as the first example of a proscenium theatre.

This emulation of the Roman model extended to referring to the stage area as the "proscenium", and some writers have incorrectly referred to the theater's scaenae frons as a proscenium, and have even suggested that the central archway in the middle of the scaenae frons was the inspiration for the later development of the full-size proscenium arch.

The Italian word for a scaenae frons is ""proscenio"." One modern translator explains the wording problem that arises here: "this translation from Italian, we retain the Italian "proscenio" in the text; it cannot be rendered "proscenium" for obvious reasons; and there is no English equivalent...It would also be possible to retain the classical "frons scaenae".

The Italian "arco scenico" has been translated as "proscenium arch."

are distinct in treatment yet united by their juxtaposition; no proscenium arch separates them."

Engravings suggest that the proscenium arch was already in use as early as 1560 at a production in Siena.

The most likely candidate for the first true proscenium arch in a permanent theatre is the Teatro Farnese in Parma (1618).

A proscenium arch creates a "window" around the scenery and performers.

A proscenium theatre layout also simplifies the hiding and obscuring of objects from the audience's view (sets, performers not currently performing, and theatre technology).

Anything that is not meant to be seen is simply placed outside the "window" created by the proscenium arch, either in the wings or in the flyspace above the stage.

The phrase "breaking the proscenium" or "breaking the fourth wall" refers to when a performer addresses the audience directly as part of the dramatic production.

Proscenium theatres have fallen out of favor in some theatre circles because they perpetuate the fourth wall concept.

The staging in proscenium theatres often implies that the characters performing on stage are doing so in a four-walled environment, with the "wall" facing the audience being invisible.

Many modern theatres attempt to do away with the fourth wall concept and so are instead designed with a thrust stage that projects out of the proscenium arch and "reaches" into the audience (technically, this can still be referred to as a proscenium theatre because it still contains a proscenium arch, however the term thrust stage is more specific and more widely used).

In dance history, the use of the proscenium arch has affected dance in different ways.

Prior to the use of proscenium stages, early court ballets took place in large chambers where the audience members sat around and above the dance space.

Later on, the use of the proscenium stage for performances established a separation of the audience from the performers.

Since the use of the proscenium stages, dances have developed and evolved into more complex figures, patterns, and movements.

Marshall Performing Arts Center was built in the 1970s and is a 715-seat flexible thrust/proscenium theatre presenting an array of theatre and dance events.

The recent library was then partially restored to its former purpose, a raised stage erected within the proscenium, as "Kathryn Casey Hall", named for the longest-serving teacher in school history.

There is an wide proscenium arch, and about of staging area.

Artaud rejected the primacy of the text and suggested a theatre in which the proscenium arch is disposed of in order to have a more direct relationship with the audience.