The Italian Tragedy in the Renaissance: Cultural Realities and Theatrical InnovationsBucknell University Press, 2002 - 272 páginas This book is about the Renaissance revitalization of classical drama. Using a cultural and theatrical approach, it shows how Italian playwrights made ancient tragedy relevant to their audiences. The book challenges the traditional critical approach to the Italian Renaissance tragedy as a mere literary work, and calls attention to the complementary function of the theatrical text, which is 'reconstructed' from the stage directions embedded in the discourse of the characters. |
Dentro del libro
Resultados 1-5 de 34
Página 11
... performance of the written text , or what theater semioticians call the spectacle text . The ensuing discussion also ... performances became cultural events that , among other functions , reflected the taste and the realities of the ...
... performance of the written text , or what theater semioticians call the spectacle text . The ensuing discussion also ... performances became cultural events that , among other functions , reflected the taste and the realities of the ...
Página 21
... performance of his Orbecche , the first Italian tragedy ever to be performed in Renaissance Italy , revived a long - lost theatrical tradition that was promptly received with much enthusiasm . That same year Orbecche was performed two ...
... performance of his Orbecche , the first Italian tragedy ever to be performed in Renaissance Italy , revived a long - lost theatrical tradition that was promptly received with much enthusiasm . That same year Orbecche was performed two ...
Página 22
... performance . And , though the rhetoric of power spilled into the auditorium , where seating arrangements projected status and influence , the stage rep- resentation itself remained largely an artistic presentation of a fic- tional ...
... performance . And , though the rhetoric of power spilled into the auditorium , where seating arrangements projected status and influence , the stage rep- resentation itself remained largely an artistic presentation of a fic- tional ...
Página 24
... performance of Gabriele Bombace's Alidoro in Reggio Emilia , the anonymous author justi- fies the notion of representing " cose note " [ known things ] on the grounds that the spectators , " intendendo subito 1'invenzione , non avessero ...
... performance of Gabriele Bombace's Alidoro in Reggio Emilia , the anonymous author justi- fies the notion of representing " cose note " [ known things ] on the grounds that the spectators , " intendendo subito 1'invenzione , non avessero ...
Página 25
... performance they were about to see ( tragedy , as opposed to comedy or pastoral ) . It would also allow for comparison between the new and the old and for a critical appraisal of their differences . Advance knowledge tends to form what ...
... performance they were about to see ( tragedy , as opposed to comedy or pastoral ) . It would also allow for comparison between the new and the old and for a critical appraisal of their differences . Advance knowledge tends to form what ...
Contenido
17 | |
20 | |
29 | |
32 | |
35 | |
37 | |
CONTEMPORARY SPATIAL SETTING AND COURTLY AMBIANCE | 46 |
BRIGANDS AND PIRATES | 54 |
THE STAGE VIEW OF WOMEN | 105 |
THEATERS AMBIVALENT ENDORSEMENT OF WOMEN | 121 |
Theatrical Innovations | 127 |
The Evolving Concept of Stage and Dramatic Space | 129 |
THE NOTION OF SCENIC AND DRAMATIC SPACE | 136 |
A CASE IN POINT | 144 |
Representing the Unrepresentable The Hic et Nunc of Tragedy | 155 |
THE ROLE OF THE MESSENGER | 158 |
Their Gods Our God Christian Religion in the Tragic World of Myth | 58 |
RELIGION IN CHRISTIAN AND MYTHOLOGICAL SETTINGS | 61 |
MARTELLIS TULLIA AND ARETINOS ORAZIA | 71 |
The Debate on Machiavellism | 79 |
THE MACHIAVELLIAN NOTION OF KINGSHIP AND THE TRAGIC STAGE | 81 |
GIRALDIS ORBEOCHE | 85 |
THEATER AS RHETORIC OF POWER | 97 |
Tragic Heroines The Debate on the Emerging Question of Women | 101 |
THE TRADITIONAL NOTION OF WOMANHOOD | 103 |
GIRALDIS ORBECCHE AND ARETINOS ORAZIA | 162 |
The Theatrical Language of Sounds and Movements | 177 |
SOUNDS RETARDATION TECHNIQUE AND MOVEMENTS | 181 |
I GIRALDI AND DOLCE | 193 |
Conclusion | 203 |
Notes | 209 |
Bibliography | 257 |
Index | 268 |
Otras ediciones - Ver todas
The Italian Tragedy in the Renaissance: Cultural Realities and Theatrical ... Salvatore Di Maria Vista de fragmentos - 2002 |
The Italian Tragedy in the Renaissance: Cultural Realities and Theatrical ... Salvatore Di Maria Sin vista previa disponible - 2001 |
Términos y frases comunes
Alberto Gallo ancient Aretino argues Ariani Aristotle audience auditorium bloody Celia characters chorus Christian Cinquecento classical contemporary Cremante cultural death deity Dido Didone divine Dolce Dolce's dramatic action dramatic space dramatists dramaturgical Edippo Edited emotions Euripides fear genre Giovanni Giraldi Greek hic et nunc honor human humanist ideology imitation Ingegneri Iphigenia Italian Renaissance Italian Renaissance tragedy Italian Tragedy kill king kingship literary live Lodovico Dolce Machiavelli Marianna Medea messenger Milan misogyny murder mythological notion Oedipus Orbecche Orbecche's Oreste palace Pazzi's performance Pietro Aretino play play's playwrights plot poetic political prince Prologue religious representation represented rhetoric Richard Lattimore Rinascimento role Rome Rosmunda royal Rucellai's rulers scene scenic space semichorus semiotic Seneca's Senecan sensorial Sofonisba Sophocles spatial spectators Sperone Speroni stage story Sulmone Sulmone's taking place Teatro del Cinquecento Teatro italiano temple theater theatrical Torrismondo traditional tragic deed Trissino Tullia underscores University Press verbal victims violence woman women
Pasajes populares
Página 210 - Ad cuius notitiam sciendum est quod comedia dicitur a "comos" villa et "oda" quod est cantus, unde comedia quasi "villanus cantus". Et est comedia genus quoddam poetice narrationis ab omnibus aliis differens. Differt ergo a tragedia in materia per hoc, quod tragedia in principio est admirabilis et quieta, in fine seu exitu est fetida et horribilis; et dicitur propter hoc a "tragos...
Página 232 - ... di obligo, il quale, per essere li uomini tristi, da ogni occasione di propria utilita e rotto; ma il timore e tenuto da una paura di pena che non ti abbandona mai.
Página 234 - At these performances what the rest of the spectators watched was not a play but the queen at a play, and their response would have been not simply to the drama, but to the relationship between the drama and its primary audience, the royal spectator.
Página 56 - He had twice celebrated his first mass ; the first time he had the same day committed murder, but afterwards received absolution at Rome ; he then killed four people and married two wives, with whom he travelled about. He afterwards took part in many assassinations, violated women, carried others away by force, plundered far and wide, and infested the territory of Ferrara with a band of followers in uniform, extorting food and shelter by every sort of violence.
Página 218 - Medici ridotto a sala di palazzo, ordinò con molto ingegno una lanterna di legname a uso d'arco, dietro a tutti i casamenti, con un sole alto un braccio fatto con una palla di cristallo piena d'acqua stillata, dietro la quale erano due torchi accesi che la facevano in modo risplendere, che ella rendeva luminoso il cielo della scena e la prospettiva in guisa che pareva veramente il sole vivo e naturale. E questo sole dico, avendo intorno un ornamento di razzi d'oro che coprivano la cortina, era di...