ABSTRACT

This paper provides a discussion of the most recurrent questions concerning visual resources and their use by theatre historians. The author, who has been working for many years on iconological topics ( mainly theatrical portraiture from 16th to 18th century, stage decoration and Renaissance Festivals) tries to set some practical rules and useful suggestions, not particularly intended for scholars specialised in theatre iconography and iconology, but more generally directed to – young or advanced – theatre historians whose research implies dealing with images. The starting point is a re-definition of the so-called “theatricality” of images, as theatricality is less a question of specific iconographic reference to the theatre practice in itself than a question of how images may – in a given historical context - convey significance of a living and ephemeral art. Theatre images are part of the visual culture and they have to be related to it in order to be correctly comprehended. Other points focus upon the usefulness and appropriateness of criteria and tools established by art historians when referred to theatre images, the problems related to identifying actors as sitters in portraits, the misuse of images when retrieved as mere illustrations, the interaction between artists and actors as inventors of meaningful images, the inter-textual references related to collectors and patrons, artistic genre and serial image production, the iconographical inertia and the ideological abuse which may originate from it.

BIOGRAFIA

Maria Ines Aliverti è stata fino al 2012 professore associato di Discipline dello Spettacolo presso l’Università di Pisa (Facoltà di Lettere), dove ha tenuto corsi di storia della scenografia, e di iconologia teatrale. Ha svolto la sua ricerca presso il Dipartimento di Storia delle Arti della stessa Università. Ha collaborato in qualità di docente con altre università italiane e straniere: University of Leicester, Università di Genova polo Imperia, University of Mainz-IPP, Université Paris III, Université Paris IV. Ha codiretto programmi di ricerca nazionali e internazionali: dell’European Science Foundation (European Theatre Iconography Scientific Network, 1997-2000) e dell’University of Warwick - Centre for the Study of the Renaissance (programma Europa Triumphans 1998-2004). Ha partecipato come relatore a numerosi colloqui internazionali. Ha pubblicato i suoi molti lavori in Italia, e soprattutto all’estero: sulla regia del ‘900, in particolare su Jacques Copeau e su Gordon Craig, sul teatro e le feste di corte di ‘500 e ‘600, sulla Commedia dell’Arte e sul teatro francese e inglese del ‘700. Il suo principale apporto di metodo riguarda l’iconografia e l’iconologia del teatro e dello spettacolo, campo di ricerca alla cui fondazione ha contribuito con studi considerati pionieristici.

DOWNLOAD

Scarica l'articolo Scarica la rivista completa