High Baroque Culture and Theatre in Vienna
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This dissertation has bssn microfilmed exactly as received 67-16,280 GRIFFIN, Robert Arthur, 1926- HIGH BAROQUE CULTURE AND THEATRE IN VIENNA. The Ohio State University, Ph.D., 1967 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan ^OOPYRIGHT 196? ROBERT ARTHUR GRIFFIN HIGH BAROQUE CULTURE AND THEATRE IN VIENNA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of Ihe Ohio State University By Robert Arthur G riffin, 3.A., 3.D., M.A. The Ohio State University 1967 Approved by Advi; School o r Education ACKJO.TIEDGMENTS The writer wishes to express publicly his appreciation to the many people in Europe and in the United States who have contributed to the progress and completion of this dissertation. To his major adviser, Professor George L. Lewis, for his knowledgeable and inspirational counseling. To his reading committee, Professor Robert 3. Sutton and Assistant Professor John C. Morrow, for their constructive criticism and encouragement. To Professor John H. McDowell, who first suggested this re search, and to his staff of The Ohio State University Theatre Collection for their help in locating, gathering, and classifying much of the resource m aterial. To Konrad Zobel for his assistance at Vienna on behalf of The Ohio State University Theatre Collection. To Mrs. Jane Nolan for her assistance and competent typing of the manuscript. Most of all, to Linda Rose and Karen, his daughters, and to Helen Frances, his wife, for their love, enthusiasm, and support throughout this doctoral program. i i VITA F e b ru ary 6 , 1926 .... Born — Cleveland, Ohio 19*14-1950 .............................Attended Cleveland Bible College (Th.3.), Fenn College, and Western Reserve University, Cleveland, Ohio; Baldwin-Wallace, Berea, Ohio 1950-1951 ....... 3.A,, Geneva College, 3eaver Falls, Pennsyl v a n ia 1951-195 4 .............................3.D., Pittsburgh-Xenia Seminary, Pittsburgh, Pennsylvania 1 9 5 5 - 1 9 5 8 .............................Philosophy Scholarship,The Georg-WIlhelm- Augusta University at Gottingen, Germany 1939-1 9 6 5 .............................Teacher in public schools: Rushsylvania, Kenton, Indian Lake at Lewis town, and Springfield, all i n Ohio 1964-19 66 . ........................ M.A., Teaching Associate at The Ohio State University, Columbus, Ohio 1966-1967 ............................. Teaching Associate as Supervisor, The Ohio State University, Columbus, Ohio 1967 ...................................... .... Ph.D., The Ohio State University, Columbus,Ohio PROFESSIONAL PAPERS Educational Im plications of Meaning and Logic for Semantic a and Rhetoric, M aster's Thesis. 1964. The Ohio State University The Triangle of Rhetoric, presented at the annual meeting of The Ohio Valley Philosophy of Education Society, Columbus, Ohio, November 4, 1966 FIELDS OF STUD! Major Field: Education Th.3. Theology 3.A. Economics 3.D. Philosophy of Religion M.A. Speech Education Ph.D. Studies in Speech Education. Professor George L. Lewis Studies in History and Philosophy of Education. Pro fessor Robert 3. Sutton Studies in Communications. Professor Franklin H. Knower l i t TABLE OF CONTENTS Page ACKNOWLEDGMENTS............................................................................................................. H VITA .................................................................................................................................... i i i LIST OF FIGURES............................................................................................................. v i LIST OF PLATES ............................................................................................................ i x C h ap ter I . INTRODUCTION......................................................................................... 1 Statement of the Problem Definition of Terms Main Sources in German Main Sources in English Purpose and Need for the Research Methodology Anticipated Results I I . THE CHANGING CULTURAL ID EA LS.................................................... 21 The Transition in Plastic Art The Transition in Music The Transition in Theatre Staging The Transition in Economics The T r a n s itio n i n Human I d e a ls The Transition in Social Organisation Characteristics of High Baroque Theatre Summary I I I . THE GROWTH OF BAROQUE THEATRE AT V IE N N A ......................... 71 Cultural Prelude under Ferdinand II Introduction of Opera under Ferdinand III Culture and Opera under Leopold I Places of Performance Garden Slows at the Favorita Summary i v TABLE OF CONTENTS (C ontinued) Chapter Page IV . ARCHITECTS OF VIENNESE HIGH 3A ROQUE CULTURE..........................108 P. Micholaus Avancini Giovanni Burnacini Ludovico Burnacini Recapitulation V. IL POMO D'ORO, A PRODUCTION A N A LY SIS........................................161 Introduction Prologue and Act I A ct I I A ct I I I A ct IV A ct V Summary V I. INFLUENCES OF VIENNESE HIGH BAROQUE THEATRE IN THE GERMAN S T A T E S .............................................................................225 Garden Theatres S a n tu rin i J. 0. Hams Recapitulation V II. SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS.............................2**9 Recapitulation Summary of Procedure Recommendations for Further Study BIBLIOGRAPHY...........................................................................................................................258 v LIST OF FIGURES Figure Page 1. Botticelli, "iiinerva punishes the Centaur" ............................. 22 2. Piero della Francesco, town scene ..... ....................... 23 3. Botticelli, The Birth of V enus ..................................................... Zb 4. B otticelli, The Miracles of Saint Zenobius ...... 25 5. Leonardo da Vinci, The Annunciation, with detail .... 26 6. Michelangelo, Frescoes of the Sistine Chapel ..... 29 7. Venetian Painting in the Sixteenth Century: Titian, Tintoretto, V eronese ..................................................... 31 8. SL Greco, Worship of the Shepherds . ................................. 32 9. T1 Greco, Assumption of the Virgin Mary ................... 33 10. El Greco, Mount S inai ................................ 3^ 11. Recapitulation: Renaissance and 3aroque Sculptures . 35 12. Qroundplan and design for a Telari Stage ........................ 38 13. Parigi, Setting design for II Solim ano ............................ *10 1*t. Scene shifting mechanism, Paris ............ *+2 15. Scene shifting mechanism, Paris ............................. *+3 16. Scene shifting mechanism, P a ris ..................................................... **** 17. Germanico sul Reno, cloud m achine ................................................ **6 18. Andrea Fozzo, ground plans from Treatise on Perspective. 1693 .................................................................................. **8 19- J* W. Baum gar ten, religious illu stra tio n ............................. 53 v i LIST 07 TiaiHES (Continued) Salthaser Permoser, The Damnation • • ....................................... 56 Balthaser Permoser, illustrated bust of Anton Ulrich von Braunschweig . • ............................. .... ....................... 59 Ludovico Burnacini, Theatre auf der Cortina • ••••• 61 Jesuit stages of the seventeenth cen tu ry ............................. 68 View of Vienna toward the South * • 83 Floorplan for the Hof burg B allroom .......................* * . • 85 La forsa della For tuna, 1 6 6 1 .................................• ••••• 87 Contest between Air and 'fa te r ....................................................• ■ 89 Contest between Air and T/ater .......................................... • • 90 Designs for the Horse B a lle t .......................................................... 91 Design and Floorplans of the Theatre auf der Cortina* • 9 ^ Design and Floorplans of the Theatre auf der Cortina* • 9 5 Ferdinando and Giuseppi GalB-3ibiena, Angelica. V incitrice D1 Alcina .................................................................... 97 Ludovico 3urnacinit L'Buleo Festigiante .................................. 101 Ludovico Burnacini, La Costanza d^Jlisse ............................. 102 Layout plan for the Favorita Garden •*.*. .................... 106 Scenes from Pletas Vlctrix . .................................••■*• 120 Scenes from Pietas Vlctrix 121 Pietas Vlctrix, concluding scene • • * .................... * . 123 v i i LIST CT 7IGUT2S (C ontinued) Figure Page 39. Floorplan for the Teatro S3. Giovanni e paolo ..................... 127 40. Giovanni burnacini, La Gara. tournament scene ..... 132 41. La Forza della fortuna, seacoast scen e .................................. 146 42. Ludovico Burnacini, II Rat to dalle Sabine .............................. 148 43. Ludovico Burnacini, La Konarchia latina trionfante. s a l o n .............................................................................................. .... 151 44. Ludovico 3urnacini( Hell caricature ............................................ 154 45. Ludovico Burnacini, A Destroyed C ity .................................. 155 46. Herrenhausen, hedge theatre ............................................................... 227 47. Groundplan for the Herrenhausen Theatre; illu s tration of Salzdahlum garden theatre ........ 228 48. Santurini, Berenice vendicative ...................................................... 230 49. Harms, Seven Planets ballet, battle tents 233 50. Harms, Seven Planets ballet; Illustration,