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Index
Cover
Series Page
Title Page
Copyright
Notes on Contributors
Chapter 1: The Visual Arts and the Theatre in Early Modern Europe
Art, Theatre and Theatricality
The Use of Theatrical Elements in the Arts and their Implications
The Scenario
The Actor
The Audience
Conclusion
Chapter 2: ‘Theatricality’ in Tapestries and Mystery Plays and its Afterlife in Painting
Chapter 3: Making the Most of Theatre and Painting: The Power of Tableaux Vivants in Joyous Entries from the Southern Netherlands (1458–1635)
The Ghent Entry of 1458
The Antwerp Entry of 1549
The Antwerp Entry of 1635
Conclusion
Chapter 4: Parrhasius and the Stage Curtain: Theatre, Metapainting and the Idea of Representation in the Seventeenth Century
Painting in the Theatre
The Theatre in Painting
Chapter 5: In Front of the Work of Art: The Question of Pictorial Theatricality in Italian Art, 1400–1700
A Painting of Reference and Memory: Referential Theatricality
A Painting of Pathos: The Breadth of Emotions
Painting the Process and the Gap: Processional Theatricality
The Correct Distance and the Area of Interiority: Humilitas
Matter and Essence: The Issue of Visual Registers
Chapter 6: Staging Bianca Capello: Painting and Theatricality in Sixteenth-Century Venice
Chapter 7: The Performing Venue: The Visual Play of Italian Courtly Theatres in the Sixteenth Century
Origins, Size, and Audiences
Elements of Decoration
Agency
Chapter 8: Dancing Statues and the Myth of Venice: Ancient Sculpture on the Opera Stage
Venice's Public Statuary and the Grimani Family
The Museum as Theatre
The Grimani and their Statues on the Operatic Stage
Chapter 9: How to Become a Picture: Theatricality as Strategy in Seventeenth-Century Dutch Portraits
Chapter 10: Staging Ruins: Paestum and Theatricality
The Sequence of Experience: Acting and Directing
Architecture as Scenographic Experience
The Landscape as Scenery
The Ruins as a Stage
Theatricality as Means of Plotting an Architectural Experience
Chapter 11: Oprar sempre come in teatro: The Rome of Alexander VII as the Theatre of Papal Self-Representation
Pope Alexander VII's Refusal of his Capitoline Statue
A Controversy over the Papal Residence
The Condition of Theatricality
Chapter 12: Ut pictura hortus/ut theatrum hortus: Theatricality and French Picturesque Garden Theory (1771–95)
Theatrical References
Anti-Theatrical Sentiments
Theatre and Society
Naturalness and Visuality
Theatre and Spectator
Painting and Spectator
Garden and Spectator
Conclusion
Chapter 13: ‘What do I See?’ The Order of Looking in Lessing's Emilia Galotti
Theatricality as a Search Criterion, or, the Paradox of the Fourth Wall
The Portrayed Body as an Object of Exchange and Deception in Lessing's Emilia Galotti
Lessing's Answer to Diderot
The Stage of the Portrait
Index
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