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Drawing on published collections and also manuscripts from Mantuan
archives, Commedia dell' arte and the Mediterranean locates
commedia dell' arte as a performance form reflective of its
cultural crucible in the Mediterranean. The study provides a broad
perspective on commedia dell' arte as an expression of the various
cultural, gender and language communities in Italy during the
early-modern period, and explores the ways in which the art form
offers a platform for reflection on power and cultural exchange.
While highlighting the prevalence of Mediterranean crossings in the
scenarios of commedia dell' arte, this book examines the way in
which actors embodied characters from across the wider
Mediterranean region. The presence of Mediterranean minority groups
such as Arabs, Armenians, Jews and Turks within commedia dell' arte
is marked on stage and 'backstage' where they were collaborators in
the creative process. In addition, gendered performances by the
first female actors participated in 'staging' the Mediterranean by
using the female body as a canvas for cartographical imaginings. By
focusing attention on the various communities involved in the
making of theatre, a central preoccupation of the book is to
question the dynamics of 'exchange' as it materialized within a
spectrum inclusive of both cultural collaboration but also of
taxation and coercion.
Drawing on published collections and also manuscripts from Mantuan
archives, Commedia dell' arte and the Mediterranean locates
commedia dell' arte as a performance form reflective of its
cultural crucible in the Mediterranean. The study provides a broad
perspective on commedia dell' arte as an expression of the various
cultural, gender and language communities in Italy during the
early-modern period, and explores the ways in which the art form
offers a platform for reflection on power and cultural exchange.
While highlighting the prevalence of Mediterranean crossings in the
scenarios of commedia dell' arte, this book examines the way in
which actors embodied characters from across the wider
Mediterranean region. The presence of Mediterranean minority groups
such as Arabs, Armenians, Jews and Turks within commedia dell' arte
is marked on stage and 'backstage' where they were collaborators in
the creative process. In addition, gendered performances by the
first female actors participated in 'staging' the Mediterranean by
using the female body as a canvas for cartographical imaginings. By
focusing attention on the various communities involved in the
making of theatre, a central preoccupation of the book is to
question the dynamics of 'exchange' as it materialized within a
spectrum inclusive of both cultural collaboration but also of
taxation and coercion.
Aesthetics in Present Future: The Arts and the Technological
Horizon collects essays by specialized scholars and a few artists,
who focus on the issue of how deeply the arts change when conveyed
by the new media (the web; 3D printers, videos, etc.) or also
simply diffused by them. Every author shows to analyze the topic
without glorifying nor criticizing this strong tendency. Their
analyses proceed as descriptions, stating how both the virtual
production and virtual communication change our attitudes toward
what we call the arts. The scope of the topics goes from
photography to cinema, to painting, from theatre to avant-guarde
art and net art, construction of robots and simulation of brain
functions. The result is an astonishing range of new possibilities
for the arts and new perspectives regarding our knowledge of the
world.
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