. . . . "3569923"^^ . . "Les P\u00E9riactes sont des \u00E9l\u00E9ments de d\u00E9cors th\u00E9\u00E2tral en Gr\u00E8ce antique. Ce sont des triangles pivotant pr\u00E9sents de chaque c\u00F4t\u00E9 de la sk\u00E9n\u00E9. Sur chaque face du p\u00E9riacte \u00E9tait repr\u00E9sent\u00E9 un d\u00E9cor diff\u00E9rent. On tournait donc le p\u00E9riacte pour changer de d\u00E9cor, selon une convention : tourner le p\u00E9riacte c\u00F4t\u00E9 cour signifie changer de lieu dans la m\u00EAme ville, tourner les deux signifie changer totalement de lieu. On a trouv\u00E9 des traces de p\u00E9riactes dans le Th\u00E9\u00E2tre de Dionysos \u00E0 Ath\u00E8nes."@fr . "Periakt"@cs . . "Periakten"@de . . . "P\u00E9riacte"@fr . "Periakten oder Periaktoi (Sg. Periaktos) waren dreiseitige Prismen aus Holz, die zur Ver\u00E4nderung der Szenerie des griechischen Theaters dienten. Jede der drei Seiten war unterschiedlich bemalt, sodass ein schneller Kulissenwechsel m\u00F6glich war.Sie ruhten auf drehbaren Achsen (in den Boden der B\u00FChne eingelassene Zapfen) und deuteten durch ihre verschieden bemalten Fl\u00E4chen bald diese, bald jene Landschaft an. Die Szenenwand mit den dahinterliegenden R\u00E4umen war bedeckt, der \u00FCbrige Raum der B\u00FChne und der Zuschauerraum unbedeckt."@de . . "\u041F\u0435\u0440\u0438\u0430\u043A\u0442\u044B"@ru . . . . . . . . . "\u041F\u0435\u0440\u0456\u0430\u0301\u043A\u0442\u0438 (\u0432\u0456\u0434 \u0433\u0440\u0435\u0446. \u03C0\u03B5\u03C1\u03AF\u03B1\u03B7\u03C4\u03BF\u03C2 \u2014 \u0442\u043E\u0439, \u0449\u043E \u043E\u0431\u0435\u0440\u0442\u0430\u0454\u0442\u044C\u0441\u044F) \u2014 \u0432 \u0434\u0430\u0432\u043D\u044C\u043E\u0433\u0440\u0435\u0446\u044C\u043A\u043E\u043C\u0443 \u0442\u0435\u0430\u0442\u0440\u0456 \u2014 \u0434\u0435\u043A\u043E\u0440\u0430\u0446\u0456\u0457 \u0443 \u0432\u0438\u0433\u043B\u044F\u0434\u0456 \u0442\u0440\u0438\u0433\u0440\u0430\u043D\u043D\u0438\u0445 \u043F\u0440\u0438\u0437\u043C, \u0449\u043E \u043E\u0431\u0435\u0440\u0442\u0430\u044E\u0442\u044C\u0441\u044F."@uk . "\u041F\u0435\u0440\u0456\u0430\u043A\u0442\u0438"@uk . "Periacto"@pt . "Periakt (plur\u00E1l Periakty, z \u0159ec. periaktoi, sing. periaktos, to\u010Dna) je za\u0159\u00EDzen\u00ED pou\u017E\u00EDvan\u00E9 pro rychlou zm\u011Bnu divadeln\u00ED sc\u00E9ny. Poprv\u00E9 byly periakty zm\u00EDn\u011Bny ve spisu De architectura (c. 14 p\u0159. n. l.) \u0159\u00EDmsk\u00E9ho architekta Vitruvia, ale mnohem intenzivn\u011Bj\u0161\u00EDho u\u017Eit\u00ED se do\u010Dkaly za renesance, kdy se na jejich tvorb\u011B pod\u00EDleli v\u00FDznamn\u00ED divadeln\u00ED design\u00E9\u0159i, jako je nap\u0159\u00EDklad (1574-1654). Ran\u00E9 filmov\u00E9 um\u011Bn\u00ED vyu\u017E\u00EDvalo pro animaci opakuj\u00EDc\u00EDho se pohybu mechanick\u00FDch za\u0159\u00EDzen\u00ED (jako byl nap\u0159. praxinoskop), kter\u00E9 byly tak\u00E9 zalo\u017Eeny na rychle rotuj\u00EDc\u00EDch pevn\u00FDch polygonech."@cs . . "Periakt (plur\u00E1l Periakty, z \u0159ec. periaktoi, sing. periaktos, to\u010Dna) je za\u0159\u00EDzen\u00ED pou\u017E\u00EDvan\u00E9 pro rychlou zm\u011Bnu divadeln\u00ED sc\u00E9ny. Poprv\u00E9 byly periakty zm\u00EDn\u011Bny ve spisu De architectura (c. 14 p\u0159. n. l.) \u0159\u00EDmsk\u00E9ho architekta Vitruvia, ale mnohem intenzivn\u011Bj\u0161\u00EDho u\u017Eit\u00ED se do\u010Dkaly za renesance, kdy se na jejich tvorb\u011B pod\u00EDleli v\u00FDznamn\u00ED divadeln\u00ED design\u00E9\u0159i, jako je nap\u0159\u00EDklad (1574-1654). Periakt se skl\u00E1d\u00E1 z oto\u010Dn\u00E9ho pevn\u00E9ho rovnoramenn\u00E9ho troj\u00FAheln\u00E9ho hranolu vyroben\u00E9ho ze d\u0159eva. Na ka\u017Ed\u00E9 z jeho t\u0159\u00ED stran je namalovan\u00E1 jin\u00E9 sc\u00E9na a t\u00EDm, \u017Ee se periakt pooto\u010D\u00ED, sc\u00E9na se sm\u011Brem k publiku velmi rychle zm\u011Bn\u00ED. Lze samoz\u0159ejm\u011B pou\u017E\u00EDt i jin\u00E9 polygony jako jsou kostky, ale troj\u00FAheln\u00EDkov\u00E9 hranoly nab\u00EDzej\u00ED nejlep\u0161\u00ED kombinac\u00ED jednoduchosti, rychlosti a po\u010Dtu sc\u00E9n. S\u00E9ri\u00ED periakt\u016F um\u00EDst\u011Bn\u00FDch za sebou pod\u00E9l stran v hloubce jevi\u0161t\u011B lze vytvo\u0159it iluzi del\u0161\u00ED sc\u00E9ny s vyu\u017Eit\u00EDm perspektivy. Rychl\u00E9 zm\u011Bny sc\u00E9ny se v renesan\u010Dn\u00EDm divadle dosahovalo d\u016Fmysln\u00FDm propojen\u00EDm periakt\u016F \u0159et\u011Bzy p\u0159es ozuben\u00E9 kolo. Podobn\u00FD koncept se pou\u017E\u00EDv\u00E1 u n\u011Bkter\u00FDch modern\u00EDch billboard\u016F, kter\u00E9 se skl\u00E1daj\u00ED z \u0159ady troj\u00FAheln\u00EDkov\u00FDch hranol\u016F uspo\u0159\u00E1dan\u00FDch tak, \u017Ee mohou b\u00FDt oto\u010Deny sou\u010Dasn\u011B a zobrazit tak t\u0159i samostatn\u00E9 ploch\u00E9 plochy v ur\u010Dit\u00E9m intervalu. Ran\u00E9 filmov\u00E9 um\u011Bn\u00ED vyu\u017E\u00EDvalo pro animaci opakuj\u00EDc\u00EDho se pohybu mechanick\u00FDch za\u0159\u00EDzen\u00ED (jako byl nap\u0159. praxinoskop), kter\u00E9 byly tak\u00E9 zalo\u017Eeny na rychle rotuj\u00EDc\u00EDch pevn\u00FDch polygonech."@cs . . . . "Les P\u00E9riactes sont des \u00E9l\u00E9ments de d\u00E9cors th\u00E9\u00E2tral en Gr\u00E8ce antique. Ce sont des triangles pivotant pr\u00E9sents de chaque c\u00F4t\u00E9 de la sk\u00E9n\u00E9. Sur chaque face du p\u00E9riacte \u00E9tait repr\u00E9sent\u00E9 un d\u00E9cor diff\u00E9rent. On tournait donc le p\u00E9riacte pour changer de d\u00E9cor, selon une convention : tourner le p\u00E9riacte c\u00F4t\u00E9 cour signifie changer de lieu dans la m\u00EAme ville, tourner les deux signifie changer totalement de lieu. On a trouv\u00E9 des traces de p\u00E9riactes dans le Th\u00E9\u00E2tre de Dionysos \u00E0 Ath\u00E8nes."@fr . . . . "\u041F\u0435\u0440\u0456\u0430\u0301\u043A\u0442\u0438 (\u0432\u0456\u0434 \u0433\u0440\u0435\u0446. \u03C0\u03B5\u03C1\u03AF\u03B1\u03B7\u03C4\u03BF\u03C2 \u2014 \u0442\u043E\u0439, \u0449\u043E \u043E\u0431\u0435\u0440\u0442\u0430\u0454\u0442\u044C\u0441\u044F) \u2014 \u0432 \u0434\u0430\u0432\u043D\u044C\u043E\u0433\u0440\u0435\u0446\u044C\u043A\u043E\u043C\u0443 \u0442\u0435\u0430\u0442\u0440\u0456 \u2014 \u0434\u0435\u043A\u043E\u0440\u0430\u0446\u0456\u0457 \u0443 \u0432\u0438\u0433\u043B\u044F\u0434\u0456 \u0442\u0440\u0438\u0433\u0440\u0430\u043D\u043D\u0438\u0445 \u043F\u0440\u0438\u0437\u043C, \u0449\u043E \u043E\u0431\u0435\u0440\u0442\u0430\u044E\u0442\u044C\u0441\u044F."@uk . . "A periaktos (plural form periaktoi, from a Greek word meaning revolving) is a device used for displaying and rapidly changing theatre scenes. It was first mentioned in Plato's Republic, in the story, \"Allegory of a Cave\" (c. 375 BCE), but its most intense use began in Renaissance theatre, as a result of the work of important theatrical designers, such as Nicola Sabbatini (1574\u20131654). It consists of a revolving solid equilateral triangular prism made of wood. On each of its three faces, a different scene is painted, so that, by quickly revolving the periaktos, another face can appear to the audience. Other solid polygons can be used, such as cubes, but triangular prisms offer the best combination of simplicity, speed and number of scenes per device. A series of periaktoi positioned one after the other along the stage's depth can produce the illusion of a longer scene, composed by its faces as seen in perspective. These periaktoi must therefore be rotated simultaneously to a new position, thus achieving interesting illusions. This is made by coupling them by using sprocket gears at their bases and a flat chain or conveyor belt mechanical transmission system. A similar concept is used in some modern Trivision multi-message billboards, which are made up of a series of triangular prisms arranged so that they can be rotated to present three separate flat display surfaces in succession. Early motion picture mechanical devices, such as the praxinoscope, were also based on rapidly rotating solid polygons, which had the successive animation or photographic plates affixed or projected to each face, thus providing the optical illusion of movement."@en . . "Um periacto (em grego, periaktos, forma plural periaktoi; a palavra significa rota\u00E7\u00E3o) \u00E9 um dispositivo usado para exibir e mudar rapidamente as cenas teatrais. Acredita-se que remontam ao cen\u00E1rio teatral dos sk\u00E9n\u00E9s da Gr\u00E9cia Antiga. Foi mencionado tamb\u00E9m no livro de arquitetura de Vitr\u00FAvio, De architectura (c. 14 a. C.), e um uso dele mais intenso come\u00E7ou no teatro renascentista, como resultado do trabalho de importantes designers teatrais, como (1574-1654)."@pt . "Periakten oder Periaktoi (Sg. Periaktos) waren dreiseitige Prismen aus Holz, die zur Ver\u00E4nderung der Szenerie des griechischen Theaters dienten. Jede der drei Seiten war unterschiedlich bemalt, sodass ein schneller Kulissenwechsel m\u00F6glich war.Sie ruhten auf drehbaren Achsen (in den Boden der B\u00FChne eingelassene Zapfen) und deuteten durch ihre verschieden bemalten Fl\u00E4chen bald diese, bald jene Landschaft an. Die Szenenwand mit den dahinterliegenden R\u00E4umen war bedeckt, der \u00FCbrige Raum der B\u00FChne und der Zuschauerraum unbedeckt. In der fr\u00FChen Renaissance griff die Telari-B\u00FChne diese Art des Kulissenbaus wieder auf. Bemalte Telari wurden den antiken Periakten nachempfunden und erg\u00E4nzten dabei einen ebenfalls bemalten Prospekt im Hintergrund. Auch im heutigen B\u00FChnenbau finden Periakten hin und wieder Verwendung, unter anderem auf Amateurb\u00FChnen, aber auch bei Theaterfestspielen, und werden dort mit Projektionen erg\u00E4nzt."@de . . . "\u041F\u0435\u0440\u0438\u0430\u043A\u0442\u044B (\u043E\u0442 \u0433\u0440\u0435\u0447. \u03C0\u03B5\u03C1\u03AF\u03B1\u03B7\u03C4\u03BF\u03C2 \u2014 \u0432\u0440\u0430\u0449\u0430\u044E\u0449\u0438\u0439\u0441\u044F) \u2014 \u0443\u0441\u0442\u0440\u043E\u0439\u0441\u0442\u0432\u043E, \u0438\u0441\u043F\u043E\u043B\u044C\u0437\u0443\u0435\u043C\u043E\u0435 \u0434\u043B\u044F \u0431\u044B\u0441\u0442\u0440\u043E\u0439 \u0441\u043C\u0435\u043D\u044B \u0442\u0435\u0430\u0442\u0440\u0430\u043B\u044C\u043D\u044B\u0445 \u0441\u0446\u0435\u043D. \u0412 \u0434\u0440\u0435\u0432\u043D\u0435\u0433\u0440\u0435\u0447\u0435\u0441\u043A\u043E\u043C \u0430\u043D\u0442\u0438\u0447\u043D\u043E\u043C \u0442\u0435\u0430\u0442\u0440\u0435 \u2014 \u0442\u0440\u0435\u0445\u0433\u0440\u0430\u043D\u043D\u044B\u0435 \u0432\u0440\u0430\u0449\u0430\u044E\u0449\u0438\u0435\u0441\u044F \u043F\u0440\u0438\u0437\u043C\u044B \u0441 \u0440\u0430\u0437\u0440\u0438\u0441\u043E\u0432\u0430\u043D\u043D\u044B\u043C\u0438 \u0441\u0442\u0435\u043D\u043A\u0430\u043C\u0438. \u041F\u043E\u044F\u0432\u043B\u0435\u043D\u0438\u0435 \u043F\u0435\u0440\u0438\u0430\u043A\u0442\u043E\u0432 \u043E\u0442\u043D\u043E\u0441\u0438\u0442\u0441\u044F, \u043F\u043E \u0432\u0441\u0435\u0439 \u0432\u0435\u0440\u043E\u044F\u0442\u043D\u043E\u0441\u0442\u0438, \u043A \u044D\u043F\u043E\u0445\u0435 \u044D\u043B\u043B\u0438\u043D\u0438\u0437\u043C\u0430. \u0412\u043F\u0435\u0440\u0432\u044B\u0435 \u0443\u043F\u043E\u043C\u044F\u043D\u0443\u0442\u044B \u0432 \u0442\u0440\u0430\u043A\u0442\u0430\u0442\u0435 \u0412\u0438\u0442\u0440\u0443\u0432\u0438\u044F \u00AB\u0414\u0435\u0441\u044F\u0442\u044C \u043A\u043D\u0438\u0433 \u043E\u0431 \u0430\u0440\u0445\u0438\u0442\u0435\u043A\u0442\u0443\u0440\u0435\u00BB \u0432 I \u0432\u0435\u043A \u0434\u043E \u043D. \u044D.. \u041D\u0430\u0438\u0431\u043E\u043B\u044C\u0448\u0435\u0435 \u0440\u0430\u0437\u0432\u0438\u0442\u0438\u0435 \u0438 \u0438\u0441\u043F\u043E\u043B\u044C\u0437\u043E\u0432\u0430\u043D\u0438\u0435 \u043F\u043E\u043B\u0443\u0447\u0438\u043B\u0438 \u0432 \u0442\u0435\u0430\u0442\u0440\u0430\u0445 \u044D\u043F\u043E\u0445\u0438 \u0412\u043E\u0437\u0440\u043E\u0436\u0434\u0435\u043D\u0438\u044F. \u041F\u0435\u0440\u0438\u0430\u043A\u0442\u044B \u0440\u0430\u0437\u043C\u0435\u0449\u0430\u043B\u0438\u0441\u044C \u043F\u043E \u043E\u0431\u0435 \u0441\u0442\u043E\u0440\u043E\u043D\u044B \u0441\u0446\u0435\u043D\u044B \u0438 \u0438\u043C\u0435\u043B\u0438 \u043E\u0434\u0438\u043D\u0430\u043A\u043E\u0432\u0443\u044E \u0441 \u043D\u0435\u0439 \u0432\u044B\u0441\u043E\u0442\u0443. \u041F\u0435\u0440\u0438\u0430\u043A\u0442\u044B \u0434\u043E\u043F\u043E\u043B\u043D\u044F\u043B\u0438 \u0434\u0435\u043A\u043E\u0440\u0430\u0446\u0438\u044E \u0436\u0438\u0432\u043E\u043F\u0438\u0441\u043D\u044B\u043C \u0438\u0437\u043E\u0431\u0440\u0430\u0436\u0435\u043D\u0438\u0435 \u043C\u0435\u0441\u0442\u043D\u043E\u0441\u0442\u0438. \u0421 \u043F\u043E\u043C\u043E\u0449\u044C\u044E \u043F\u043E\u0432\u043E\u0440\u043E\u0442\u043E\u0432 \u043F\u0435\u0440\u0438\u0430\u043A\u0442\u043E\u0432 \u043E\u0441\u0443\u0449\u0435\u0441\u0442\u0432\u043B\u044F\u043B\u0430\u0441\u044C \u043F\u0435\u0440\u0435\u043C\u0435\u043D\u0430 \u043C\u0435\u0441\u0442\u0430 \u0434\u0435\u0439\u0441\u0442\u0432\u0438\u044F \u0442\u0435\u0430\u0442\u0440\u0430\u043B\u044C\u043D\u043E\u0433\u043E \u043F\u0440\u0435\u0434\u0441\u0442\u0430\u0432\u043B\u0435\u043D\u0438\u044F, \u0441\u043F\u0435\u043A\u0442\u0430\u043A\u043B\u044F. \u0412\u0440\u0430\u0449\u0430\u044F \u0438\u0445 \u0432\u043E\u043A\u0440\u0443\u0433 \u043E\u0441\u0438, \u043C\u043E\u0436\u043D\u043E \u0431\u044B\u043B\u043E \u0431\u044B\u0441\u0442\u0440\u043E \u0438\u0437\u043C\u0435\u043D\u0438\u0442\u044C \u0444\u043E\u043D \u0434\u0440\u0430\u043C\u044B, \u043A\u043E\u043C\u0435\u0434\u0438\u0438 \u0438\u043B\u0438 \u0442\u0440\u0430\u0433\u0435\u0434\u0438\u0438. \u041F\u0435\u0440\u0438\u0430\u043A\u0442\u044B \u0441\u043B\u0443\u0436\u0438\u043B\u0438 \u0442\u0430\u043A\u0436\u0435 \u0432 \u043A\u0430\u0447\u0435\u0441\u0442\u0432\u0435 \u043A\u0443\u043B\u0438\u0441."@ru . . . . . . "Il periaktos era una macchina scenica utilizzata nel teatro greco e nel teatro latino (dove era chiamata tr\u00ECgoni vers\u00E0tiles), poi ripresa in varie epoche. Il plurale del termine \u00E8 periaktoi, pi\u00F9 sovente utilizzato perch\u00E9 di solito se ne usavano due, e mai uno solo. Il periaktos era costituito da un prisma triangolare ligneo montato su un perno centrale, che ne permetteva la rotazione, a sua volta inserito in una base presumibilmente di pietra. La loro posizione, non del tutto certa, era comunque ai lati della sken\u00E9 nel teatro greco, ubicazione conservata poi successivamente nei teatri latini."@it . . . . "Periakty \u2013 dekoracje w formie graniastos\u0142upa o podstawie tr\u00F3jk\u0105ta. Na \u015Bcianach bry\u0142y umieszczano inne dekoracje. Przez obr\u00F3t dooko\u0142a osi mo\u017Cliwa by\u0142a szybka zmiana t\u0142a rozgrywanego dramatu (komedii, tragedii). Stosowane by\u0142y w teatrach greckich okresu hellenistycznego."@pl . "Il periaktos era una macchina scenica utilizzata nel teatro greco e nel teatro latino (dove era chiamata tr\u00ECgoni vers\u00E0tiles), poi ripresa in varie epoche. Il plurale del termine \u00E8 periaktoi, pi\u00F9 sovente utilizzato perch\u00E9 di solito se ne usavano due, e mai uno solo. Il periaktos era costituito da un prisma triangolare ligneo montato su un perno centrale, che ne permetteva la rotazione, a sua volta inserito in una base presumibilmente di pietra. La loro posizione, non del tutto certa, era comunque ai lati della sken\u00E9 nel teatro greco, ubicazione conservata poi successivamente nei teatri latini. I periaktoi sono descritti nel De architectura di Vitruvio. La loro funzione, sebbene controversa, era molto importante per due motivi: in primo luogo garantiva l'immediata riconoscibilit\u00E0 del genere teatrale che si stava rappresentando, dall'altra essi rappresentavano uno dei primi esempi di scenografia a scopo descrittivo della storia del teatro. Dalle descrizioni di Vitruvio sembra infatti che sulle tre facciate del prisma fossero dipinte tre scene che richiamavano i tre generi teatrali greci: tragedia, commedia e dramma satiresco. La rotazione del prisma mostrava al pubblico il genere di ci\u00F2 a cui stavano assistendo. Un'altra ipotesi \u00E8 che sulle tre facce fossero invece disegnate scene di paesaggi di campagna o di citt\u00E0, a seconda della parodos vicino alla quale erano posti. I periaktoi erano forse provvisti di una nicchia nella quale poteva celarsi un attore."@it . . . . 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"Periakty \u2013 dekoracje w formie graniastos\u0142upa o podstawie tr\u00F3jk\u0105ta. Na \u015Bcianach bry\u0142y umieszczano inne dekoracje. Przez obr\u00F3t dooko\u0142a osi mo\u017Cliwa by\u0142a szybka zmiana t\u0142a rozgrywanego dramatu (komedii, tragedii). Stosowane by\u0142y w teatrach greckich okresu hellenistycznego."@pl . . "1106237428"^^ . . . "Periaktos"@en . . . "Um periacto (em grego, periaktos, forma plural periaktoi; a palavra significa rota\u00E7\u00E3o) \u00E9 um dispositivo usado para exibir e mudar rapidamente as cenas teatrais. Acredita-se que remontam ao cen\u00E1rio teatral dos sk\u00E9n\u00E9s da Gr\u00E9cia Antiga. Foi mencionado tamb\u00E9m no livro de arquitetura de Vitr\u00FAvio, De architectura (c. 14 a. C.), e um uso dele mais intenso come\u00E7ou no teatro renascentista, como resultado do trabalho de importantes designers teatrais, como (1574-1654). Consiste em um prisma triangular equil\u00E1tero s\u00F3lido girat\u00F3rio de madeira. Em cada uma de suas tr\u00EAs faces, uma cena diferente \u00E9 pintada, de modo que, girando rapidamente o periacto, outra face possa aparecer para o p\u00FAblico. Outros pol\u00EDgonos s\u00F3lidos podem ser usados, como cubos, mas prismas triangulares oferecem a melhor combina\u00E7\u00E3o de simplicidade, velocidade e n\u00FAmero de cenas por dispositivo. Uma s\u00E9rie de periactos posicionados um ap\u00F3s o outro ao longo do fundo do palco pode produzir a ilus\u00E3o de uma cena mais longa, composta por suas faces como vista em perspectiva. Esses periactos devem, portanto, ser rotacionados simultaneamente para uma nova posi\u00E7\u00E3o, obtendo assim ilus\u00F5es interessantes. Isto \u00E9 feito acoplando-os usando-se engrenagens de roda dentada nas suas bases e um sistema de transmiss\u00E3o mec\u00E2nica de ou transportadora. Um conceito semelhante \u00E9 usado em alguns modernos pain\u00E9is multimensagens , que s\u00E3o constitu\u00EDdos por uma s\u00E9rie de prismas triangulares dispostos de modo que eles podem ser rodados para apresentar tr\u00EAs superf\u00EDcies de exposi\u00E7\u00E3o planas separadas em sucess\u00E3o. Os dispositivos mec\u00E2nicos de filmes iniciais, como o praxinosc\u00F3pio, tamb\u00E9m eram baseados em pol\u00EDgonos s\u00F3lidos de rota\u00E7\u00E3o r\u00E1pida, que tinham a anima\u00E7\u00E3o sucessiva ou placas fotogr\u00E1ficas afixadas ou projetadas em cada face, proporcionando assim a ilus\u00E3o de movimento."@pt . . "A periaktos (plural form periaktoi, from a Greek word meaning revolving) is a device used for displaying and rapidly changing theatre scenes. It was first mentioned in Plato's Republic, in the story, \"Allegory of a Cave\" (c. 375 BCE), but its most intense use began in Renaissance theatre, as a result of the work of important theatrical designers, such as Nicola Sabbatini (1574\u20131654). It consists of a revolving solid equilateral triangular prism made of wood. On each of its three faces, a different scene is painted, so that, by quickly revolving the periaktos, another face can appear to the audience. Other solid polygons can be used, such as cubes, but triangular prisms offer the best combination of simplicity, speed and number of scenes per device."@en . . . . . . . . . . . . "3528"^^ . "Periakty"@pl . . "Periaktos"@it . .