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OverviewThrough an interdisciplinary examination of sixteenth-century theatre, Visual Experiences in Cinquecento Theatrical Spaces studies the performative aspects of the early modern stage, paying special attention to the overlooked complexities of audience experience. Examining the period's philosophical and aesthetic ideas about space, place, and setting, the book shows how artists consciously moved away from traditional representations of real spaces on stage, instead providing their audiences with more imaginative and collaborative engagements that were untethered by strict definitions of naturalism. In this way, the book breaks with traditional interpretations of early modern staging techniques, arguing that the goal of artists in this period was not to cater to a single privileged viewer through the creation of a naturalistically unified stage but instead to offer up a complex multimedia experience that would captivate a diverse assembly of theatre-goers. Full Product DetailsAuthor: Jimena Berzal de DiosPublisher: University of Toronto Press Imprint: University of Toronto Press Dimensions: Width: 15.20cm , Height: 2.00cm , Length: 22.90cm Weight: 0.460kg ISBN: 9781487503888ISBN 10: 1487503881 Pages: 216 Publication Date: 22 January 2019 Audience: College/higher education , Professional and scholarly , Tertiary & Higher Education , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: Temporarily unavailable  The supplier advises that this item is temporarily unavailable. It will be ordered for you and placed on backorder. Once it does come back in stock, we will ship it out to you. Table of ContentsReviewsBerzal de Dios offers excellent comparative discussions on the illustrations that work well to demonstrate the book's overall thesis - when it comes to the stage, spectators engage with a play of asemblances and recognizable buildings, not a mimetic ideal. Berzal de Dios's emphasis on disunity in scenography reminds us that a city that appears on stage is not always a representation of the truth. Urban spaces condensed on the stage might imply an idealized locale, but we need to be looking at the stage with a different point of view. Berzal de Dios's study reminds us that built environments on the Cinquecento stage were ephemeral, made for plural audiences, and meant to celebrate irregular viewpoints. -- Kyna Hamill, Boston University * <em>Renaissance Quarterly</em>, Summer 2020 * Author InformationJimena Berzal de Dios is Professor in the Department of Art and Art History at Western Washington University. Tab Content 6Author Website:Countries AvailableAll regions |
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