DOCSLIB.ORG

Performance and Spectacle in Early Modern Europe Edited by Margaret Shewring and Leila Zammar Advisory Editor Silvia Carandini

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Performance and Spectacle in Early Modern Europe Edited by Margaret Shewring and Leila Zammar Advisory Editor Silvia Carandini s Arti dello Spettacoloa / Performing Arts Arti dello Spettacolo / Performing Arts Editor Donatella Gavrilovich University of Rome ‘Tor Vergata’ Associate Editors Erica Faccioli Donato Santeramo Academy of Fine Arts of Venezia Queen’s University, Kingston (CANADA) Stefania Frezzotti Ol’ga Kupcova National Gallery of Modern Art (GNAM), Rome State Institute of Art Studies (SIAS), Mosca (RUSSIA) Fabrizio Grifasi Fondazione Romaeuropa, Rome Consulting Editor Vladislav Ivanov Marie-Christine Autant-Mathieu State Institute of Art Studies (SIAS), Mosca (RUSSIA) EUR’ORBEM, CNRS, Paris-Sorbonne (FRANCE) Lucie Kempf Delphine Pinasa Université de Lorraine (FRANCE ) Centre National du Costume de Scène et de la Scénographie (CNCS) Claudia Pieralli (FRANCE) University of Florence Dmitrij Rodionov Gabriel Poole A. A. Bakhrushin State Central Theatre Museum (RUSSIA) University of Cassino and Southern Lazio Elena Randi Advisory Board University of Padua Gabriella Elina Imposti Daria Rybakova University of Bologna St. Petersburg State University of Culture and Arts (RUSSIA) Andrei Malaev-Babel Elena Servito Florida State University/Asolo Conservatory for Actor Training (USA) INDA (National Institute of Ancient Drama) Foundation of Syracuse Lorenzo Mango Margaret Shewring University of Naples ‘L’Orientale’ University of Warwick (ENGLAND) Mariateresa Pizza Artem Smolin Archive ‘Dario Fo-Franca Rame’ St. Petersburg State University of Information Technologies, Mechanica Roger Salas and Optics (RUSSIA) ‘El Pais’, Madrid (SPAIN) Leila Zammar Riku Roihankorpi Loyola University of Chicago JFRC University of Tampere (FINLAND) Fabio Massimo Zanzotto University of Rome ‘Tor Vergata’ Editorial Board Leonetta Bentivoglio Editorial Assistants ‘La Repubblica’, Rome Elisa Anzellotti,University of Viterbo “La Tuscia” Michaela Böhmig Annamaria Corea, University of Rome ‘La Sapienza’ Member of the International Dance Council CID - UNESCO Anna Isaeva, Université Paris 3 Sorbonne Nouvelle (FRANCE ) Manuela Canali Irina Marchesini, University of Bologna National Academy of Dance, Rome Alice Pieroni, University of Florence Silvia Carandini Marianna Zannoni, University of Venice University of Rome ‘La Sapienza’ Alexander Chepurov Staff Russian State Institute of Performing Arts Marco Argentina, University of Padua, Giulia Cara, University of Marietta Chikhladze Rome ‘Tor Vergata’, Gioia Cecchi, University of Rome ‘La Sapienza’, Tbilisi State University (GEORGIA) Marco Damigella, University of Roma Tre, Davide Di Bella, Univer- Enrica Dal Zio sity of Florence, Alessandro Maria Egitto, University of Rome ‘Tor ‘Michael Chekhov Association MICHA’, New York (USA) Vergata’, Valeria Gaveglia, University of Rome ‘Tor Vergata’, Silvia Lo- Dominique Dolmieu reti, University of Rome ‘Tor Vergata’, Manuel Onorati, University of Maison d’Europe et d’Orient - Eurodram (FRANCE ) Rome ‘Tor Vergata’, Valeria Paraninfi, University of Rome ‘Tor Verga- ta’, Ilaria Recchi, University of Rome ‘Tor Vergata’, Andrea Vanacore, University of Roma Tre The journal evaluates submissions through a double-blind referee system. s Arti dello Spettacoloa / Performing Arts Arti dello Spettacolo / Performing Arts Performance and Spectacle in Early Modern Europe edited by Margaret Shewring and Leila Zammar advisory editor Silvia Carandini Editorial Il “Paradiso” di Leonardo da Vinci. Politica, Donatella Gavrilovich 4 astrologia e teatro Patrocinio: Francesca Bortoletti 137 Abstracts 6 A political interpretation of a proscenium arch Introduction designed by Francesco Romanelli for the opera Margaret Shewring and Leila Zammar 14 “San Bonifazio” (1638) Leila Zammar 146 Progetto grafico History of the Chivalric Tournament: Spectacles of Fire and Water: Performing Gioia Cecchi A New Approach Sydney Anglo 18 the Destructive Forces of Early Modern Naval Battles Segreteria e ufficio stampa Crossing Borders: Comparative and Felicia M. Else 154 [email protected] Transnational Approaches to Court and Civic Festivals in Early Modern Europe “Ecce Sacerdos Magnus”: The Entry Bram van Leuveren 24 of Giovan Francesco Morosini, Brescia 1591 Tipografia Iain Fenlon 163 Universitalia Dancing in Late Sixteenth-Century France: Via di Passo Lombardo, 421 The Greek Legacy Sens et fonctions de l’ornement dans 00133 Roma Margaret M. McGowan 36 l’entrée royale en France au XVIIe siècle Marie-Claude Canova-Green 174 ARTI DELLO SPETTACOLO “Con sinfonie e balli superbi”. Drammaturgia dei balletti alla ‘magnifica Teatro y Escenografía en Florencia en PERFORMING ARTS corte’ di Lorenzo Onofrio Colonna la segunda mitad del Seicento. Mutaciones Anno VI - Special Issue – 2020 (Roma 1659-1689) fin de siglo Valentina Panzanaro 45 Esther Merino 181 Attribution 4.0 International Celebrating as a Nation. The Festival Performance and Intelligentsia around the Direttore Responsabile: Life of Foreign Communities and Identity Inauguration of an Equestrian Statue in the Donatella Gavrilovich Building in Early Modern Rome Eighteenth Century Tobias C. Weißmann 56 Fernando Matos Oliveira and Maria Luísa Malato 194 Editore UNIVERSITALIA Tra festa e spettacolo: un “Sacrificio” accademico per il Carnevale senese Work in progress Via di Passolombardo Matteo Tamborrino 70 00133 Roma Prayer and Performance in the Middle Ages: Tel. 06 20419483 Stretching the truth: festivity, Two Unpublished Processional and Animated P.I./C.F. 03914561000 re-enactment and creative invention Sculptures of the Crucified Christ email: [email protected] H. Neville Davies 83 from Piedmont Melanie Zefferino 203 www.unipass.it Performance in French Court Festivals under François Ier ISSN 2421-2679 Richard Cooper 94 Focus Registrazione tribunale 21 gennaio 2015 con n. 8/2015 La “grande salle du bal” et son rôle dans la JRM: inspirational colleague, teacher, formation de la salle de théâtre rectangulaire scholar and friend à la française Margaret Shewring 209 Cover image designed by Leila Monique Chatenet 104 Zammar using illustrations from An all-round master of arts: working articles in this issue. “L’Art du luxe” Claude-François Ménestrier with Ronnie Mulryne et la rhétorique du feu d’artifice Ian Brown 213 Nikola Piperkov 114 L’orizzonte europeo di J. R. Mulryne: La messa in scena della “Calandria” Vent’anni di rinnovamento dei Festival Studies di Bibbiena a Lione il 27 settembre 1548 Maria Ines Aliverti 222 Carlo Fanelli 123 Il sesto numero della rivista “Arti dello Spettacolo This sixth issue of the journal “Arti dello / Performing Arts”, intitolato Festa e Spettacolo Spettacolo / Performing Arts”, entitled agli albori dell’Europa Moderna, raccoglie una Performance and Spectacle in Early Modern serie di articoli incentrati sul tema della festa e Europe, collects a series of articles focused on the degli spettacoli organizzati presso corti, grandi various forms of festivals organized in courts, dimore e città agli albori dell’Europa moderna. large residences, and cities in early Modern La danza, la musica, l’arredamento, i tornei, la Europe. progettazione e l’organizzazione di spazi per Dance, music, decor, tournaments, design, and spettacoli, nonché l’importanza di questi eventi organization of spaces for performances, as well nella vita culturale, politica ed economica dei as the importance of these events in the cultural, paesi, delle corti e delle città coinvolti, sono stati political, and economic life of the countries, esplorati dagli autori dei contributi pubblicati. courts and cities involved, have been explored by the authors of the articles published in this A tutti loro e, in modo particolare alle curatrici, issue. vanno i miei più sinceri ringraziamenti per aver affrontato e risolto brillantemente tutte I would like to sincerely thank all of them, le difficoltà, causate dalle attuali tragiche particularly the editors, for having faced and circostanze. La pandemia ha reso molto difficile brilliantly solved all the difficulties caused by l’accesso ad archivi e biblioteche per la ricerca di the current tragic circumstances. The pandemic documenti e immagini; così come veramente has made it very difficult to access archives and complesso è stato mantenere il costante libraries to search for documents and images; coordinamento e il quotidiano confronto da just as it was truly complex to maintain the parte delle curatrici tra loro stesse, gli autori e i constant coordination and daily confrontation revisori. between the editors themselves, the authors and Il sesto numero della rivista, frutto di un così the reviewers. grande impegno, è il sentito omaggio al Professor The sixth issue of the journal, fruit of such a great Ronnie Mulryne e ne riflette i suoi vasti interessi commitment, is a heartfelt tribute to Professor di ricerca. Ronnie Mulryne and reflects his vast research Ho avuto l’onore di incontrare il Prof. Mulryne interests. in occasione di un convegno, organizzato dalla I had the honour to meet Prof. Mulryne at a Editorial by Donatella Gavrilovich SEFR presso l’Università di Cambridge nel conference organized by the SEFR at the University 2018. Mi ha colpito la sua profonda umanità, of Cambridge in 2018. I was struck by his deep la vivacità intellettuale e la gentilezza. Quando humanity, intellectual vivacity and kindness. When gli ho donato le pubblicazioni della rivista, si è I gave him the previous issues of the journal, he subito interessato e con entusiasmo ha voluto immediately became interested and enthusiastically presentarla ai partecipanti. Sono rimasta wanted to show them to the participants. I was sorpresa e sinceramente colpita
Load more

Recommended publications
  • Schede Empio E Don Giovanni
    FONDAZIONE TEATRO DI PISA STAGIONE LIRICA 2019/20 con il contributo di MIBAC-Ministero per i beni e le attività culturali e di Regione Toscana direttore artistico Stefano Vizioli Pisa, Teatro Verdi, 12 ottobre 2019 / 29 marzo 2020 sabato 12 ottobre 2019 ore 20.30, domenica 13 ottobre ore 15.30 (mercoledì 9 ottobre ore 16 promozionale scuole e sociale) Alessandro Melani L’EMPIO PUNITO dramma per musica in tre atti (1669) libretto di Filippo Acciaiuoli e Giovanni Filippo Apolloni da El burlador de Sevilla di Tirso de Molina Acrimante Raffaele Pe • Atamira Raffaella Milanesi • Ipomene Roberta Invernizzi Bibi Giorgio Celenza • Delfa Alberto Allegrezza e con i cantanti selezionati attraverso il bando "Accademia barocca": Atrace Lorenzo Barbieri, Cloridoro Federico Fiorio, Proserpina Benedetta Gaggioli, Niceste / Caronte Piersilvio De Santis, Corimbo Shaked Evron, Tidemo / Telefo Carlos Negrin Lopez direttore Carlo Ipata regia Jacopo Spirei scene e costumi Mauro Tinti • disegno luci Fiammetta Baldiserri Orchestra Auser Musici Nuovo allestimento del Teatro di Pisa Coproduzione Teatro di Pisa, Associazione Teatrale Pistoiese - Centro di Produzione Teatrale con il sostegno di Fondazione Cassa di Risparmio di Pistoia e Pescia Quattro anni fa, per il ciclo di ‘Opere da camera’, Carlo Ipata, insieme con Auser Musici, propose in prima esecuzione moderna assoluta una selezione da L’Empio punito, il dramma musicale in tre atti che, composto per il carnevale del 1669 dal pistoiese Alessandro Melani, il quarto di molti fratelli tutti musicisti, è noto per essere stata la prima opera in assoluto su Don Giovanni. Oggi è proprio L’Empio Punito nella sua intierezza ad inaugurare la Stagione Lirica.
    [Show full text]
  • Sabato 12 Ottobre 2019 Ore 20.30, Domenica 13 Ottobre Ore 15.30
    sabato 12 ottobre 2019 ore 20.30, domenica 13 ottobre ore 15.30 (mercoledì 9 ottobre ore 16 promozionale scuole e sociale) Alessandro Melani L’EMPIO PUNITO dramma per musica in tre atti (1669) libretto di Filippo Acciaiuoli e Giovanni Filippo Apolloni da El burlador de Sevilla di Tirso de Molina interpreti principali Raffaele Pe (Acrimante), Raffaella Milanesi (Atamira), Roberta Invernizzi (Ipomene), Giorgio Celenza (Bibi), Alberto Allegrezza (Delfa) direttore Carlo Ipata regia Jacopo Spirei scene e costumi Mauro Tinti | disegno luci Fiammetta Baldiserri Orchestra Auser Musici Nuovo allestimento del Teatro di Pisa Coproduzione Teatro di Pisa, Teatro Manzoni di Pistoia Quattro anni fa, per il ciclo di ‘Opere da camera’, Carlo Ipata, insieme con Auser Musici, propose in prima esecuzione moderna assoluta una selezione da L’Empio punito, il dramma musicale in tre atti che, composto per il carnevale del 1669 dal pistoiese Alessandro Melani, il quarto di molti fratelli tutti musicisti, è noto per essere stata la prima opera in assoluto su Don Giovanni. Oggi è proprio L’Empio Punito nella sua intierezza ad inaugurare la Stagione Lirica. Commissionata al Melani – all’epoca giovane compositore alla sua prima importante esperienza teatrale – dalla famiglia Colonna (lo stesso nobile casato che l’anno prima aveva incaricato il fratello Jacopo della composizione de Il Girello), L’Empio punito è organizzato musicalmente nella classica suc- cessione di recitativi, ariosi e arie aperte, con numerosi duetti in cui i personaggi interagiscono tra di loro esponendo le opposte passioni. Il libretto era un riadattamento per le scene italiane de El burlador de Sevilla di Tirso da Molina ad opera di Filippo Acciaiuoli, uomo di teatro e spirito caustico e grottesco, mentre i versi furono scritti da Filippo Apolloni che, in perfetta concordanza d’intenti con l’Acciauoli, garantì alla vicenda un taglio scanzonato.
    [Show full text]
  • The Early Modern Transmission of the Ancient Greek Romances: a Bibliographic Survey
    The early modern transmission of the ancient Greek romances: a bibliographic survey KIRSTEN RICQUIER Ghent University This contribution offers a new, critical bibliography of the early modern transla- tions and editions of the five extant Greek romances.1 The early modern era was a crucial period for their afterlife: it was the age of print, enabling their wider dissemination across Europe, and the large number of prints of the Greek ro- mances in the classical languages or vernacular echoed and contributed to their popularity as models for imitations and adaptations. So far, there have not been many attempts to create a bibliography of these works, and the existing ones are only partial. In some cases, they are mentioned in more general bibliographies of translations of classical texts.2 When more specific, the bibliographies usually only concern one romance.3 Two scholars attempted to compose a bibliography for several Greek novelists: Gesner (1970:145-162) and Plazenet (1997:685-702) provide a long list for Heliodorus, Achilles Tatius, and Longus, in France and Britain during the sixteenth and seventeenth centuries.4 These bibliographies have, however, their limitations as reference tools for the early modern epoch. ————— 1 This article is based on an MA dissertation written at Ghent University in 2016-2017 under the supervision of Professor Koen De Temmerman, to whom I am very grateful for all his advice. It is written under the European Union’s Seventh Framework Programme (FP/2007-2013) with the support of the European Research Council Starting Grant Novel Saints (Grant Agreement n. 337344) at Ghent University.
    [Show full text]
  • WRITING ABOUT EARLY RENAISSANCE WORKS of ART in VENICE and FLORENCE (1550-1800) Laura-Maria
    BETWEEN TASTE AND HISTORIOGRAPHY: WRITING ABOUT EARLY RENAISSANCE WORKS OF ART IN VENICE AND FLORENCE (1550-1800) Laura-Maria Popoviciu A dissertation submitted in fulfillment of the requirements for the degree of Doctor of Philosophy in Combined Historical Studies The Warburg Institute University of London 2014 1 I declare that the work presented in this thesis is my own _______________________________ Laura-Maria Popoviciu 2 ABSTRACT My dissertation is an investigation of how early Renaissance paintings from Venice and Florence were discussed and appraised by authors and collectors writing in these cities between 1550 and 1800. The variety of source material I have consulted has enabled me to assess and to compare the different paths pursued by Venetian and Florentine writers, the type of question they addressed in their analyses of early works of art and, most importantly, their approaches to the re-evaluation of the art of the past. Among the types of writing on art I explore are guidebooks, biographies of artists, didactic poems, artistic dialogues, dictionaries and letters, paying particular attention in these different genres to passages about artists from Guariento to Giorgione in Venice and from Cimabue to Raphael in Florence. By focusing, within this framework, on primary sources and documents, as well as on the influence of art historical literature on the activity of collecting illustrated by the cases of the Venetian Giovanni Maria Sasso and the Florentine Francesco Maria Niccolò Gabburri, I show that two principal approaches to writing about the past emerged during this period: the first, adopted by many Venetian authors, involved the aesthetic evaluation of early Renaissance works of art, often in comparison to later developments; the second, more frequent among Florentine writers, tended to document these works and place them in their historical context, without necessarily making artistic judgements about them.
    [Show full text]
  • Alessandro Melani L'empio Punito
    GCD 923522 Alessandro Melani New release information September 2020 L’empio punito NOTES (ENG) NOTES (FRA) The legendary figure of the libertine Don Juan La figure légendaire du libertin Don Juan a had been straddling European theatre and été à cheval sur les scènes de théâtre et opera stages for well over a century before d’opéra européennes pendant plus d’un siècle Mozart got into the act with his matchless avant que Mozart ne se mette en scène avec Don­Giovanni . Back in 1669, Alessandro son incomparable Don­Giovanni . En 1669, Melani became the first composer to create a Alessandro Melani est devenu le premier dramma­per­musica out of tales of this witty compositeur à créer un dramma­per­musica and licentious character, using a libretto autour de ce personnage licencieux, en provided by a pair of Roman poets in Filippo utilisant un livret fourni par deux poètes Acciaiuoli and Giovanni Filippo Apolloni from romains, Filippo Acciaiuoli et Giovanni Filippo their adaption of the celebrated Spanish Apolloni, à partir de leur adaptation du tragic drama, El­burlador­de­Sevilla by Tirso célèbre drame tragique espagnol, E l­burlador de Molina. Acciauoli and Apolloni transposed de­Sevilla de Tirso de Molina. Acciauoli et the events of Seville into a mythical Apolloni ont transposé les événements de Alessandro Melani landscape and called Don Giovanni Acrimante Séville dans un paysage mythique et ont L’empio punito and his servant Leporello Bibi. But they did appelé Don Giovanni Acrimante et son not change the original plot... serviteur Leporello Bibi. Mais ils n’ont pas Rome, 1669 modifié l’intrigue originale..
    [Show full text]
  • The New World Mythology in Italian Epic Poetry: 1492-1650
    THE NEW WORLD MYTHOLOGY IN ITALIAN EPIC POETRY: 1492-1650 by CARLA ALOÈ A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Italian Studies School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham September 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT My thesis explores the construction of the New World mythology as it appears in early modern Italian epic poems. It focuses on how Italian writers engage with and contribute to this process of myth-creation; how the newly created mythology relates to the political, social and cultural context of the time; and investigates extent to which it was affected by the personal agendas of the poets. By analysing three New World myths (Brazilian Amazons, Patagonian giants and Canadian pygmies), it provides insights into the perception that Italians had of the newly discovered lands in the Sixteenth and Seventeenth Centuries, as well as providing a greater understanding of the role that early modern Italy had in the ‘invention’ of the Americas.
    [Show full text]
  • Rialto Provo, UT 84602 USA Tel
    &84 /0/5)& 3*"-50 No. 28 2009 EDITORIAL ADVISORY COMMITTee Patricia Fortini Brown Dept. of Art & Archeology Princeton University Robert C. Davis Department of History The Ohio State University Paul Grendler Emeritus Professor of History University of Toronto Edward Muir Department of History Northwestern University EDITOR Eric Dursteler Department of History Brigham Young University Published with the support of the Gladys Krieble Delmas Foundation, The Evans Foundation, and the Department of History at Brigham Young University. For information, contact: News on the Rialto Provo, UT 84602 USA Tel. (801) 361-2904 Fax (801) 422-0275 [email protected] or www.newsontherialto.com LIBRARIES AND ARCHIVES ARCHIVIO DI STATO, FRARI CENTRO TEDESCO DI STUDI ISTITUTO DI STUDI STORICI S. Polo 3002, tel. 041-5222281; VENEZIANI S. Sebastiano fax 041-5229220 Palazzo Barbarigo della Terrazza Monday -- Friday 8:30-19:00 www.archiviodistatovenezia.it/ S.Polo 2765/a, tel. 041-5206355 Saturday 8:30-13:00 Monday – Thursday 8:20-18:00 www.dszv.it/index.html Friday – Saturday 8:20-14:00 Monday – Wednesday 8:30-12:30; ISTITUTO VENETO DI SCIENZE, & Friday 14:30-17:30 LETTERE ED ARTE ATENEO VENETO Thursday 8:30-12:30 S. Marco 2945, tel. 041-5210177 Campo S. Fantin, tel. 041-5224459 www.istitutoveneto.it Monday – Friday 9:00-12:00; COMUNE DI VENEZIA Monday – Friday 9:00-12:30 16:00-19:00 Castello 2737, tel. 5289261 15:00-18:00 Saturday 9:00-12:00 (call for information) ISTITUZIONI DI RICOVERO E BIBLIOTECA MARCIANA CONSORZIO PER LO SVILUPPO DI EDUCAZIONE S.
    [Show full text]
  • At the Helm of the Republic: the Origins of Venetian Decline in the Renaissance
    At the Helm of the Republic: The Origins of Venetian Decline in the Renaissance Sean Lee Honors Thesis Submitted to the Department of History, Georgetown University Advisor(s): Professor Jo Ann Moran Cruz Honors Program Chair: Professor Alison Games May 4, 2020 Lee 1 Contents List of Illustrations 2 Acknowledgements 3 Terminology 4 Place Names 5 List of Doges of Venice (1192-1538) 5 Introduction 7 Chapter 1: Constantinople, The Crossroads of Empire 17 Chapter 2: In Times of Peace, Prepare for War 47 Chapter 3: The Blinding of the Lion 74 Conclusion 91 Bibliography 95 Lee 2 List of Illustrations Figure 0.1. Map of the Venetian Terraferma 8 Figure 1.1. Map of the Venetian and Ottoman Empires 20 Figure 1.2. Tomb of the Tiepolo Doges 23 Figure 1.3. Map of the Maritime Empires of Venice and Genoa (1453) 27 Figure 1.4. Map of the Siege of Constantinople (1453) 31 Figure 2.1. Map of the Morea 62 Figure 2.2. Maps of Negroponte 65 Figure 3.1. Positions of Modone and Corone 82 Lee 3 Acknowledgements If brevity is the soul of wit, then I’m afraid you’re in for a long eighty-some page thesis. In all seriousness, I would like to offer a few, quick words of thanks to everybody in the history department who has helped my peers and me through this year long research project. In particular I’d like to thank Professor Ágoston for introducing me to this remarkably rich and complex period of history, of which I have only scratched the surface.
    [Show full text]
  • El Mito De Don Juan En La Ópera: Don Giovanni De Mozart
    Escola Internacional de Doutoramento David Rodríguez Rivada Tesis doctoral EL MITO DE DON JUAN EN LA ÓPERA: DON GIOVANNI DE MOZART Dirigida por la doctora: Carmen Becerra Suárez Año: 2017 1 Escola Internacional de Doutoramento Carmen Becerra Suárez HACE CONSTAR que el presente trabajo, titulado ―El mito de Don Juan en la ópera: Don Giovanni de Mozart‖, que presenta David Rodríguez Rivada para la obtención del título de Doctor, fue elaborado bajo su dirección en el programa de doctorado ―Artes Escénicas‖. Vigo, 30 de mayo de 2017 La Directora de la tesis de doctorado Dra. Carmen Becerra Suárez 2 Escola Internacional de Doutoramento David Rodríguez Rivada DECLARA que el presente trabajo, titulado ―El mito de Don Juan en la ópera: Don Giovanni de Mozart‖, no contiene ningún capítulo que sea transcripción exacta de una publicación previa. 3 A JULIA RIVADA ARIAS, MI MADRE 4 Agradecimientos A mi pareja, Isabel, por aguantar mis cambios de humor, mis agobios y mis prisas, por saber comprenderme y no permitir que el desánimo o la fatiga me hiciesen sucumbir. A Isaac César González Abellás, profesor de historia y compañero, por facilitarme bibliografía relevante para la contextualización histórica de esta tesis. A mi amiga María Jesús Fontela Fernández, por ayudarme a mejorar el estilo de esta narración maravillosa que ha sido el mito de Don Juan, y por todo su apoyo y ánimo. Y a Carmen Becerra Suárez, mi directora de tesis, profesora, amiga y referencia: una persona sin cuya ayuda jamás habría podido realizar este estudio; no sólo por su vastísima erudición en el tema, sin la cual habríamos necesitado otros seis años, sino también por su paciencia, por la tranquilidad que me ha transmitido en los momentos de incertidumbre, por saber escucharme, estar siempre dispuesta a ayudarme y saber compaginar el rigor técnico que un estudio como este requiere con la humanidad sin la cual me sería del todo imposible finalizarlo.
    [Show full text]
  • “Ecce Sacerdos Magnus”: the Entry of Giovan Francesco Morosini
    ISSN 2421-2679 163 “Ecce Sacerdos Magnus”: Te Entry of Giovan Francesco Morosini, Brescia 1591 Iain Fenlon n June 1591, Cardinal Giovan Francesco Morosini made his ceremonial entry into Brescia as the city’s new bishop, arguably the Imost elaborate such event since that of Caterina Cornaro almost a century earlier. Te powerful Consiglio generale dei nobili cittadini had gone to great lengths to welcome its distinguished visitor, the latest incumbent of a see which had been occupied by distinguished churchmen during the course of the century, including the leading Borromean reformer Domenico Bollani (see Cairns 1976 and Gamba 2016). Its deliberations resulted in the appointment of ‘cinque prestantissimi cittadini’, presided over by the jurist Alfonso Capriolo, a learned man with a specialised knowledge of mathematics and science; he was also a poet, and the co- founder of the Accademia degli Occulti, the city’s most prestigious academy (see Rossi 1620). His Fig. 1. Marco Publio Fontana, Il sontuoso apparato fatto principal collaborator, Marco Publio Fontana, a della città di Brescia nel ritorno dell’illu. & reverendiss. naturalized Brescian from Bergamo, was a priest vescovo suo il Cardinale Morosini (Brescia, Vincenzo with interests in literature, painting, sculpture, Sabbio [1591]), titlepage. music, and classical literature (ibidem 1620: 441-43). Between them Capriolo and Fontana Te general model for the via triumphalis was could muster many of the skills and much of that of Imperial Rome, with temporary arches the erudition that was eventually expended on constructed of wood and gesso and then Morosini’s entry and its subsequently published ornamented with painted canvas, stucco, trompe description (Fontana 1591)2.
    [Show full text]
  • The Allegorical Landscape Alvise Cornaro and His Self-Promotion by the Landscape Paintings in the Odeo Cornaro in Padua
    Open Peer Reviewed Journal, www.kunstgeschichte-ejournal.net SÖREN FISCHER The Allegorical Landscape Alvise Cornaro and his Self-Promotion by the Landscape Paintings in the Odeo Cornaro in Padua I Summary The present study deals with the illusionistic landscape paintings in the villa-like Odeo Cornaro of Padua.1 Commissioned by the author, patron of arts and land owner Alvise Cornaro, and executed by Lambert Sustris (c. 1505/1510–c. 1585) and Gualtiero Padovano (c. 1505/10–1552/1553) around 1540/1541, these frescos created for the first time the life-sized pictorial illusion of views onto surrounding landscapes in the Venetian Republic of the 16th century. It is the aim of this study to highlight these frescos as important instruments in Alvise Cornaros self-representation and as allegorical comments on his extensive activities in land cultivation for the good of the Venetian Republic and its people. >1< II Introduction: The Odeo Cornaro in Padua In the first half of the cinquecento, Alvise Cornaro, born in Venice (c. 1484–1566) as son of Antonio di Giacomo and Angeliera Angelieri, belonged next to Gian Giorgio Trissino and Daniele Barbaro to the high class of humanistic society in the Venetian Republic, yet he was never accepted as an aristocrat (Ill. 1).2 Although he tried to prove his aristocracy to the authorities throughout his life, his name was never to be put into the Golden Book of the Republic.3 Aristocracy remained denied to him. Agriculture and the reclamation of land were central elements of Alvise's life:4 For him, agriculture, or as he expressed with the term santa agricoltura5 referring to the ancient Roman authors on agriculture such as Publius Vergilius Maro and Lucius Iunius Moderatus Columella, signified independence and power for both the individual and the entire state of Venice.
    [Show full text]
  • Ducks and Deer, Profit and Pleasure: Hunters, Game and the Natural Landscapes of Medieval Italy Cristina Arrigoni Martelli A
    DUCKS AND DEER, PROFIT AND PLEASURE: HUNTERS, GAME AND THE NATURAL LANDSCAPES OF MEDIEVAL ITALY CRISTINA ARRIGONI MARTELLI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR IN PHILOSOPHY GRADUATE PROGRAM IN HISTORY YORK UNIVERSITY TORONTO ONTARIO May 2015 © Cristina Arrigoni Martelli, 2015 ii ABSTRACT This dissertation is an ample and thorough assessment of hunting in late medieval and Renaissance northern and central Italy. Hunting took place in a variety of landscapes and invested animal species. Both of these had been influenced by human activities for centuries. Hunting had deep cultural significance for a range of social groups, each of which had different expectations and limitations on their use of their local game animal-habitat complexes. Hunting in medieval Italy was business, as well as recreation. The motivations and hunting dynamics (techniques) of different groups of hunters were closely interconnected. This mutuality is central to understanding hunting. It also deeply affected consumption, the ultimate reason behind hunting. In all cases, although hunting was a marginal activity, it did not stand in isolation from other activities of resource extraction. Actual practice at all levels was framed by socio-economic and legal frameworks. While some hunters were bound by these frameworks, others attempted to operate as if they did not matter. This resulted in the co-existence and sometimes competition, between several different hunts and established different sets of knowledge and ways to think about game animals and the natural. The present work traces game animals from their habitats to the dinner table through the material practices and cultural interpretation of a variety of social actors to offer an original survey of the topic.
    [Show full text]