Theatricality in Early Modern Art and Architecture
October 2011, Wiley-Blackwell
- 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
1. The Visual Arts and the Theatre in Early Modern Europe (Caroline Van Eck and Stijn Bussels).
2. 8216;Theatricality’ in Tapestries and Mystery Plays and its Afterlife in Painting (Laura Weigert).
3. Making the Most of Theatre and Painting: The Power of Tableaux Vivants in Joyous Entries from the Southern Netherlands (1458–1635) (Stijn Bussels).
4. Parrhasios and the Stage Curtain: Theatre, Metapainting and the Idea of Representation in the Seventeenth Century (Emmanuelle Hénin).
5. In Front of the Work of Art: The Question of Pictorial Theatricality in Italian Art, 1400–1700 (Marc Bayard).
6. Staging Bianca Capello: Painting and Theatricality in Sixteenth-Century Venice (Elsje van Kessel).
7. The Performing Venue: The Visual Play of Italian Courtly Theatres in the Sixteenth Century (Lex Hermans).
8. Dancing Statues and the Myth of Venice: Ancient Sculpture on the Opera Stage (Wendy Heller).
9. How to Become a Picture: Theatricality as Strategy in Seventeenth-Century Dutch Portraits (Hanneke Grootenboer).
10. Staging Ruins: Paestum and Theatricality (Sigrid de Jong).
11. Oprar sempre come in teatro: The Rome of Alexander VII as the Theatre of Papal Self-Representation (Maarten Delbeke).
12. Ut pictura hortus/ut theatrum hortus: Theatricality and French Picturesque Garden Theory (1771–95) (Bram Van Oostveldt).
13. ‘What do I See?’ The Order of Looking in Lessing's Emilia Galotti (Kati Röttger).
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.