Theatricality in Early Modern Art and Architecture offers the first systematic investigation of exchanges between the arts, architecture and the theatre. The authors present many new instances of the interaction between the arts, providing a theoretical and historiographical context for these interactions.
- Offers the first systematic investigation of exchanges between the arts, architecture and the theatre, not simply the influence of the theatre on the arts, and vice versa
- Develops a theoretical and methodological model to study such exchanges and interactions
- Presents many new, hitherto unknown instances of the interaction between the arts, particularly architecture, and the theatre, and provides such interactions with a theoretical and historiographical context
- Authors have opened up new ways of analyzing theatricality both in the arts, architecture and the theatre
| Notes on Contributors |
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6 | (2) |
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Chapter 1 The Visual Arts and the Theatre in Early Modern Europe |
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8 | (16) |
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Chapter 2 `Theatricality' in Tapestries and Mystery Plays and its Afterlife in Painting |
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24 | (12) |
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Chapter 3 Making the Most of Theatre and Painting: The Power of Tableaux Vivants in Joyous Entries from the Southern Netherlands (1458-1635) |
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36 | (12) |
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Chapter 4 Parrhasius and the Stage Curtain: Theatre, Metapainting and the Idea of Representation in the Seventeenth Century |
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48 | (14) |
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Chapter 5 In Front of the Work of Art: The Question of Pictorial Theatricality in Italian Art, 1400-1700 |
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62 | (16) |
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Chapter 6 Staging Bianca Capello: Painting and Theatricality in Sixteenth-Century Venice |
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78 | (14) |
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Chapter 7 The Performing Venue: The Visual Play of Italian Courtly Theatres in the Sixteenth Century |
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92 | (12) |
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Chapter 8 Dancing Statues and the Myth of Venice: Ancient Sculpture on the Opera Stage |
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104 | (16) |
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Chapter 9 How to Become a Picture: Theatricality as Strategy in Seventeenth-Century Dutch Portraits |
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120 | (14) |
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Chapter 10 Staging Ruins: Paestum and Theatricality |
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134 | (18) |
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Chapter 11 Oprar sempre come in teatro: The Rome of Alexander VII as the Theatre of Papal Self-Representation |
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152 | (12) |
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Chapter 12 Ut pictura hortus/ut theatrum hortus: Theatricality and French Picturesque Garden Theory (1771-95) |
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164 | (14) |
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Chapter 13 `What do I See?' The Order of Looking in Lessing's Emilia Galotti |
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178 | (11) |
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| Index |
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189 | |
Interactions between the visual arts and the theatre are not simply a matter of exchanges of media or genres. They affect the way a play, painting or statue is viewed, the media, genres and arts involved, and the characters on stage or represented in painting or sculpture. These interactions raise questions about the ways genres are distinguished and defined, and ultimately the relation between representation and presence. This book offers the first systematic investigation of exchanges between the arts, architecture and the theatre, and not just an overview of the influence of the theatre on the arts, and vice versa. The authors take as their starting point a study of the implications of the use of four elements that define early modern theatre: the scenario, the actor, the theatrical space, and the audience. In doing so, the authors open up new ways of analyzing theatricality both in the arts, architecture and the theatre. They also present many new, hitherto unknown instances of the interaction between the arts, and provide these interactions with a theoretical and historiographical context.
