Search

Fra Rinascimento e secolo dei lumi lo spettacolo teatrale transita dall’immagine statica della scena fissa a quella mutevole, fatta di quinte mobili che simulano la centralità di spazi disposti frontalmente, evolvendosi nella vista d’angolo bibienesca. Teorie e metodi della prospettiva vengono progressivamente assorbiti dalle empiriche invenzioni scenografiche, mentre i bozzetti dei singoli apparati e delle macchine che ne svelano i cinematismi, spesso, sono frammentari. Ancor più i modelli analogici, di cui rimane traccia solo in sporadiche ricostruzioni esposte nelle mostre: sono scatole magiche adatte a recuperare la dimensione dello spazio prospettico, evocando le parvenze delle messe in scena originarie. Il saggio rilegge le maquette rapportandole alle fonti iconografiche e testuali che ne hanno determinato le logiche compositive. Si analizza la fiorente letteratura che, dalla seconda metà del Cinquecento in poi, riflette sulle pratiche della teatralità, per riscoprire i fondamenti della prospettiva solida e la determinazione del punto di vista ottimale, a partire dalle regole costruttive del palco, come ad esempio si evince nei trattati di Scipione Chiaramonti e Nicola Sabbattini. Ciò consente di risalire alle reali configurazioni spaziali dei contesti in cui gli spettacoli si sono svolti, verificando anche i rapporti di proporzionalità del proscenio e dell’arco scenico, desumibili dallo studio delle antiporte e delle incisioni che accompagnano i libretti delle opere.

Copyright of Builder (1896-0642) is the property of PWB MEDIA Zdzieblowski sp.j. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Film Quarterly / Kwartalnik Filmowy is the property of Kwartalnik Filmowy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Film Quarterly / Kwartalnik Filmowy is the property of Kwartalnik Filmowy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Film Quarterly / Kwartalnik Filmowy is the property of Kwartalnik Filmowy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Film Quarterly / Kwartalnik Filmowy is the property of Kwartalnik Filmowy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Redakcja „Kwartalnika Filmowego” rozpoczyna cykl przedruków archiwalnych artykułów pochodzących z pierwszej edycji pisma, wydawanej w latach 1951-1965. Celem projektu jest odtworzenie dziejów polskiej myśli filmowej i przypomnienie najciekawszych dokonań dawnych autorów, wraz z komentarzem, który rekonstruuje kontekst ich powstania i sytuuje je wobec współczesnych tendencji teorii i historii filmu. Marian Wimmer był architektem, zajmował się też teorią architektury i sztuki. Interesowała go zwłaszcza kwestia przestrzeni, w tym także przestrzeni filmowej. Autorka rekapituluje jego dokonania w tej dziedzinie, wskazując na zainteresowanie pozycją widza oraz zasadami odbioru i percepcji dzieła filmowego, co potem zostało rozwinięte w nurcie kognitywistycznym i neoformalistycznym teorii filmu. (Materiał nierecenzowany).

W ujęciu Wimmera scenografia jest plastycznym tłem akcji dramatu teatralnego lub filmu. Bohater w działaniu nadaje jej energię i określa jej funkcje. Przestrzeń teatralna była niegdyś nieruchoma, zdynamizował ją dopiero Gordon Craig, wykorzystując grę świateł. W filmie natomiast zostaje wykorzystana przestrzeń dynamiczna, ale to nie ze scenografią ma tu do czynienia widz, lecz z jej fotografią. Wimmer zwraca uwagę na to, jak odbiorca percypuje przestrzeń filmową, angażując zmysły, wrażliwość, emocje, grę skojarzeń i intelekt. Punktem centralnym są według niego bohater i jego działania w środowisku, które zawiera znacznie więcej informacji, niż dzieje się to w przypadku teatru. Jak pisze badacz – krajobrazy i aktorzy łączą się w akcji na zasadzie harmonii lub kontrastu. Wimmer analizuje ponadto takie czynniki jak: fabuła, ruchomy obraz, kompozycja kadru, montaż oraz ich związek ze scenografią i konstrukcją przestrzeni. (Materiał nierecenzowany; pierwodruk: „Kwartalnik Filmowy” 1963, nr 52, s. 3-15).

Copyright of Autobiografia is the property of University of Szczecin Press / Wydawnictwo Naukowe Uniwersytetu Szczecinskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Through an analysis of the settings of three comedies and tragicomedies of the 1630s, La Rosella, Li duo baci and La Rosa, this essay highlights the later developments of Giovan Battista Andreini's 'pastoral poetics'. The pastoral elements, which the author puts to use throughout the entire arc of his theatrical production, are here stylized, lacking the dynamic contribution that the genre offered in the Baroque age. What emerges is a previously unremarked trait of Andreini's dramaturgical writing, which gives a singular metaphorical value to the environmental descriptions and translates the actor's performativity into rhetorical terms. [ABSTRACT FROM AUTHOR]

Sul finire del Cinquecento, Venezia apre i primi teatri pubblici a pagamento, ma ciò sembra presagire una storia fallimentare, a giudicare dalle entrate delle famiglie Michiel e Tron, perché il successo di un seguito interrotto per circa cinquantasette anni comincia a intravvedersi, nel 1637, con la riapertura del Teatro San Cassan che prende le distanze dal genere della commedia recitata, per abbracciare il melodramma in musica. La cultura dello spettacolo si impone in laguna e a fine secolo la città ospita circa 15 teatri musicali, di cui, purtroppo, non rimangono tracce tangibili. L’articolo delinea le traiettorie per la costruzione di un archivio digitale, capace di connettere un’eterogeneità di fonti utili alla ricostruzione dei teatri, delle macchine e delle scene che li hanno animati, in modelli 3D che si configurano come performativi spazi digitali di una memoria dalla quale estrapolare le dinamiche della sua attualizzazione. In questo modo le tracce materiali e immateriali delle architetture, delle scenografie e delle macchine, che hanno caratterizzato le origini e condizionato il successivo sviluppo del teatro pubblico, diventano i paradigmi di una nuova idea della scena dello spettacolo come immagine del mondo.

Copyright of Ars Bilduma is the property of Ars Bilduma and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Italica is the property of University of Illinois Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A partire dalle espressioni grafiche afferenti alle avanguardie artistiche e al loro influsso nelle arti performative, l’obiettivo dell’articolo è quello di approfondire il rapporto tra geometrie e corpi in movimento nei disegni di costumi e scenografie dedicati alla danza. Le letture proposte riguardano l’analisi di alcune rappresentazioni emblematiche dell’avanguardia artistica che ha condiviso un profondo interesse per la progettazione scenografica e costumistica con quei coreografi, danzatori e compositori che stavano contribuendo a istituire una visione del teatro fortemente radicata nelle inquietudini sociopolitiche del tempo. L’interpretazione grafica si sofferma in prima istanza sui bozzetti e sui costumi di scena con l’obiettivo di rintracciare quelle connessioni geometriche e distributive che intercorrono tra la totalità della figura umana e le parti che ne definiscono la dinamica. Successivamente vengono proposti alcuni schemi analitici sui fotogrammi di due balletti eseguiti per la prima volta dalla compagnia di Serge Diaghilev, La Chatte (1927) e Les Noces (1923). In questo caso vengono analizzati la struttura coreografica, la disposizione dei gesti nello spazio, le direzioni e gli elementi dinamici, al fine di inquadrare e distinguere relazioni tra cose e movimenti per mezzo di linee forza, in un mosaico di pesi ed equilibri grafici, scorgendo nel disegno una dimensione possibile dell’esplicitazione coreografica.

Copyright of Drawing Ideas Images / Disegnare Idee Immagini is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Drawing Ideas Images / Disegnare Idee Immagini is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Space & Form / Przestrzeń i FORMA is the property of West Pomeranian University of Technology, Department of Architecture & Urban Planning and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La scenografia teatrale è una delle applicazioni privilegiate della prospettiva nel Rinascimento. Il teatro di corte, caratteristico di quegli anni, si struttura intorno a un impianto prospettico frontale sviluppato in profondità. Questa particolare applicazione prospettica fa della scenografia un luogo privilegiato di sperimentazione delle trasformazioni proiettive alle origini della prospettiva solida in cui lo spazio reale si contrae trasformandosi nello spazio illusorio della scena. Questo studio rivolge l’attenzione al De scenis, VI libro della Perspectivae Libri sex, scritto da Guidobaldo del Monte nel 1600 interamente dedicato alla scenografia teatrale. Nel trattato è elaborato un metodo scientifico di validità universale per costruire le scene, fondato sulla teoria dei punti di concorso enunciata nel primo libro dell’opera, teoria che segnò profondamente la storia della prospettiva e della geometria descrittiva. Nell’opera di Guidobaldo il problema del controllo delle trasformazioni proiettive dello spazio è risolto riducendo la prospettiva solida a un insieme di prospettive piane relazionate fra loro e controllate attraverso la teoria dei punti di concorso. Applicata all’arte della scenografia, questa teoria rivela tutta la sua generalità, poiché consente la rappresentazione di classi di rette genericamente orientate nello spazio e allo stesso tempo risolve, con ragionamenti di tipo proiettivo, il problema della misura degli angoli e delle lunghezze.

Copyright of Lubelski Rocznik Pedagogiczny is the property of Maria Curie-Sklodowska University in Lublin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper is an introduction to the analytical study of the total theatrical oeuvre of Elżbieta Wittlin Lipton -- the daughter of eminent Polish novelist, essayist and translator -- Józef Wittlin. Budzik gives an outline of Wittlin Lipton's biography by focusing especially on particular stages of her artistic education pursued both in the United States (New York and Chicago) and in Spain (Madrid). The article takes as its focus the selected theatrical scenographic and costume design projects which the artist has been creating since the late seventies of the 20th century onwards, for American and Spanish theatrical scenes. Further discussed are Spanish and Polish cultural and painterly backrounds which stamped their imprints on Wittlin Lipton's artistic imagery and sensitivity. Budzik proposes that the notion of 'motherland' in the case of this emigré artist should be viewed on symbolically in terms of art broadly conceived. [ABSTRACT FROM AUTHOR]

Copyright of Thiasos Monografie is the property of Edizioni Quasar di Severino Tognon s.r.l. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Technical Transactions / Czasopismo Techniczne is the property of Sciendo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La Mostra dell’agricoltura, dell’industria e delle arti applicate, detta più comunemente “del Lazio”, tenutasi nel 1923 presso il Galoppatoio di Villa Borghese a Roma, impegnò l’architetto Armando Brasini nella realizzazione di una vera e propria “cittadella” espositiva; gli scenografici padiglioni, poi impiegati per le ambientazioni del film Quo Vadis, furono progettati come elementi cardine di un utopico spazio urbano dove potesse di-mostrarsi la rinascita, tutta fascista, del mito imperiale.

Copyright of Espacio, Tiempo y Forma. Serie VII, Historia del Arte is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art Inquiry is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Is it possible to construct a history of France’s ‘colonial exhibitions’ without mentioning those organized in the Nineteenth Century at Bordeaux, Nantes, Metz, Le Havre, Lyon, Rochefort, Cherbourg, Beauvais, Nice, Montauban, Rouen and Tours? By studying the scenography of these little-known provincial exhibitions, this paper seeks, firstly, to understand the economic, political and especially symbolic issues for these towns (especially the ports) around the construction of their colonial identities; secondly, it wants to determine the role of the State in the dissemination and gradual popularization of a unified national discourse.

Copyright of Drawing Ideas Images / Disegnare Idee Immagini is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)