Maino, Marzia (2009) Dispositivi illuminotecnici e spettacolo a Vicenza: l'Accademia Olimpica, l'inaugurazione del Teatro e gli influssi sul contesto spettacolare. [Tesi di dottorato]
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This work of research attempts to define the issue of lighting technique in the area of Vicenza between the Renaissance and the Baroque age . The first introductive part focuses on the cultural environment of the beric city, at the age of the Serenissima Venetian Republic dominion, focusing its interest on Academies and on their work of elaboration and trasmission of knowledge within city life. A major section of this work has been devoted to the Olympic Academy as main promoter of cultural and performing events; its events stand out thanks to the comparison between the sources which set up the Academy itself. The core of this dissertation follows the origins, through the building till the opening of the Olympic Theatre. The staging of Oedipus Tyrannus (1585) is examined through the point of view of Angelo Ingegneri, corago of the production; the analysis dwells upon the elements of the performance, with special attention to the light. The team of technicians and craftsmen collaborating with Ingegneri on the plan and creation of the lightning devices deserves a deep reflection. Research works permit to declare that the corago is supported by true “specialists” of light, like Vincenzo Scamozzi, Marcantonio Pasi and Alessandro Tessame: they are eclectic and versatile professional men, who offer high level consultations and qualified labour. Pasi is above all active within the Este court. Investigations have underlined the existence of an interesting relationship between Vicenza and Ferrara, favoured also by Giovan Battista Guarini, who acts as an intermediary between the two cultural entourages , taking part in the events of the Olimpici for about twenty years (1583-1605). This research examines the lighting technique theory of Ingegneri in the broader Italian panorama. Basic have been the reflections by writers of treatises,such as Leone de’ Sommi, who first have devoted themselves to the relation between text and stage, recognizing the proto-dramatic value of light. Subsequently is proposed the reconstruction of some productions run after 1585 at the Olympic Theatre or in other performing sites, sponsored by the Olimpici or by other nobelmen of Vicenza.This is done as an attempt to define the basic lines underlying the concept of lighting tehcnnique in Vicenza from the sixteenth and seventeenth century. The following stand out : barriers in the Theatre (1588, 1612), in a private courtyard (1611), at the Palazzo della Ragione (1642); a tragedy (1618); a (1656). Some “minor” typologies complete this review : tryumphant entrances, processions, visits of illustriuous guests at the Theatre. I have constantly tried to establish connections between the situation in Vicenza and other courts, with the purpose of palcing the events under investigation in the contemporary performing background. In the cases taken as a model it is evident as the light coefficient gradually assumes a new value. As a consequence the value of the light within the show changes during few decades. Close to the lights of service, sophisticated lighting systems appear, lights evidently designed and realized keeping in mind both the apparatus within which they are inserted, and the impact on the emotions of the audience.
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Il lavoro di ricerca tenta di delineare la questione illuminotecnica nell’area vicentina tra Rinascimento e Barocco. La prima parte di carattere introduttivo mette a fuoco l’ambiente culturale della città berica, al tempo dominio della Serenissima Repubblica di Venezia, focalizzando l’interesse sulle Accademie e sulla loro attività di elaborazione e trasmissione del sapere all’interno della vita cittadina. Ampio spazio è riservato all’Accademia Olimpica, principale promotrice di eventi culturali e spettacolari; le vicende riferite a questa Accademia emergono dal confronto con le fonti che costituiscono gli Atti dell’Accademia stessa.
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