Overview
- Provides a simultaneously detailed and accessible analysis of Baroque aesthetics
- Takes a multidisciplinary approach to this under-explored subject, opening up the topic's analysis and interpretation to a wider audience
- Investigates the intersection of contemporary and medieval philosophy in its exploration of Italian Baroque culture
Part of the book series: Performance Philosophy (PPH)
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About this book
This book theorizes the baroque as neither a time period nor an artistic style but as a collection of bodily practices developed from clashes between governmental discipline and artistic excess, moving between the dramaturgy of Jesuit spiritual exercises, the political theatre-making of Angelo Beolco (aka Ruzzante), and the civic governance of the Venetian Republic at a time of great tumult. The manuscript assembles plays seldom read or viewed by English-speaking audiences, archival materials from three Venetian archives, and several secondary sources on baroque, Renaissance, and early modern epistemology in order to forward and argument for understanding the baroque as a gathering of social practices. Such a rethinking of the baroque aims to complement the already lively studies of neo-baroque aesthetics and ethics emerging in contemporary scholarship on (for example) Latin American political art.
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Keywords
Table of contents (7 chapters)
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Front Matter
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Discipline and Excess
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Front Matter
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Back Matter
Reviews
“Baroque, Venice, Theatre, Philosophy is a clearly written, closely argued, and carefully drawn study of the Italian baroque in historical (sixteenth and seventeenth centuries), architectural, and metaphorical space and time.” (Spencer Golub,Theatre Journal, Vol. 71 (4), December, 2019)
“A worthy addition to the Jesuit theater bookshelf.” (Kevin J. Wetmore, Journal of Jesuit Studies, Vol. 5, 2018)
“A worthy addition to the Jesuit theater bookshelf.” (Kevin J. Wetmore, Journal of Jesuit Studies, Vol. 5, 2018)
Authors and Affiliations
About the author
Will Daddario is Co-Editor with Karoline Gritzner of Adorno and Performance (2014) and with Laura Cull Ó Maoilearca of Manifesto Now! Instructions for Performance, Philosophy, Politics (2013). He is the Chair of the Performance and Philosophy Working Group within Performance Studies international and a founding member of the international network Performance Philosophy.
Bibliographic Information
Book Title: Baroque, Venice, Theatre, Philosophy
Authors: Will Daddario
Series Title: Performance Philosophy
DOI: https://doi.org/10.1007/978-3-319-49523-1
Publisher: Palgrave Macmillan Cham
eBook Packages: Literature, Cultural and Media Studies, Literature, Cultural and Media Studies (R0)
Copyright Information: The Editor(s) (if applicable) and The Author(s) 2017
Hardcover ISBN: 978-3-319-49522-4Published: 14 June 2017
Softcover ISBN: 978-3-319-84179-3Published: 01 August 2018
eBook ISBN: 978-3-319-49523-1Published: 02 June 2017
Series ISSN: 2947-5589
Series E-ISSN: 2057-7176
Edition Number: 1
Number of Pages: IX, 261
Topics: Theatre History, Aesthetics, History of Early Modern Europe, Fine Arts, National/Regional Theatre and Performance