The map portrays a floor plan of Teatro Strehler comprising the entrance hall, the foyer, the “Scatola Magica” and surrounding spaces, which are located on the ground floor of the building.

Conventional signs

• The solid lines are walls;
• the wavy lines are curtains;
• the checkered areas are the seats;
• the multiple thin arrowheads are stairs and ramps;
• the small crossed boxes are elevator shafts;
• the hollow shapes in solid line are the outlines of furnishings;
• the dashed rectangle outlines the performance area of the “Scatola Magica”;
• the dotted arrow marks the entrance;
• the filled raised surfaces are areas that are inaccessible to the general public or obstructions from structural elements;
• the dotted areas are the toilets;
• the letters in large print and in braille mark certain areas (ticket office, “Corner”, “Scatola Magica”);
• the cross marks the position of this panel.
   

Exploration
In the upper left corner of the map you will find the words “T. Strehler: Ingresso e Foyer” (meaning “Entrance Hall and Foyer” in Italian) in large print and in braille, while in the upper right corner is the QR Code linking to this guide. 

Now place both hands on the lower edge of the map and locate, near the middle of the panel, several raised squares grouped in pairs: these are the columns of the entrance portico.

Let us move to the third pair of pillars from the right, almost at the centre of the panel. Move your fingers upward and you will find a dotted line: follow it to identify it as an arrow indicating the access leading to the entrance hall of Teatro Strehler.

Just above the tip of the arrow, enclosed by a thin line, we can find a “B” in large print and in braille, marking the ticket office. If instead we move further left in the direction traced by the arrow, we will find, in the following order: a gap between two walls; a protruding “spike” extending beyond the lower perimeter of the building, containing the outline of a bookshelf for display purposes; and finally, a pair of multiple arrowheads pointing leftwards, signalling the staircases that lead respectively to the first floor (the bottom one) and to the basement (the top one).

Just above and slightly to the right of these staircases lies a raised circle representing a sculpted bust of Giorgio Strehler, which is on a plinth directly in front of the entrance. From here, moving slightly upward and to the right, we can find a cross. It marks the position of this panel, and it is where we are presently located.

Immediately above the cross, beyond a wall, we will find a “C” in large print and in braille. This marks the “Corner”, a space set up within a corner of the foyer and mainly devoted to temporary exhibitions. If, going back to the cross, we move to the right, we will instead enter a narrow corridor squeezed between the ticket office below and a raised area above.

Without going into too much detail on its irregular outline, we will soon encounter an elevator (portrayed by a small crossed box) and, to its right, the toilets (a rectangle covered in dotted surface). In the upper right corner of these bathrooms we may find an emergency exit joined to a smooth corridor. This curves around a raised polygon—an area that is not accessible to the public—and leads outside the building. Directly beneath the elevator we will also find another gap in the perimeter wall, which is another emergency exit.

Let us now return to the “Corner” and move our fingers horizontally beyond its left wall, crossing the foyer again until, at the same height of the “C”, we find a small gap in a slanted wall next to a small thin-line polygon. This latter represents a bench, while the gap in the wall is the entrance to the “Scatola Magica”.

After passing through this opening and moving upward to the left, we will soon encounter the letters “S. M.” in large print and in braille, indicating that we are in the space called “Scatola Magica” (“Magic Box” in Italian). This is a multipurpose room employed for performances and installations. Just above the letters we can locate a dashed rectangle marking the performance area.

Up and to the right of the “M” in large print we find a wavy line representing a curtain, beyond which lies another access to the foyer. If from here we keep going upward, set within a wider raised area, we will find a small crossed box marking another elevator. If, instead, we move downward, we shall find the two hollow rectangles of two benches.

Let us now focus more closely on the large raised polygonal area, roughly C-shaped and more or less in the middle of the panel, which stretches upward and to the right of the “Corner” exhibition space. This area is taken up by a series of walls and service rooms surrounding the first row of the balcony: following its inner profile, we will in fact find a checkered curve, representing the seating.

From the upper end of the balcony, running between two raised areas, we will find a hollow corridor. On the left, it ends in another portico (recognisable by the pairs of filled squares also found along the lower edge of the panel): this is an emergency exit.

The balcony, of course, opens up above the stalls, stage, and backstage, which are located on floor -1 and are not portrayed here. The space they would otherwise occupy is left blank, but we can trace its outline, bordered on the right side of the panel by offices and other service areas not accessible to the public.