Sguardi sul teatro. Saggi di iconografia teatrale

ABSTRACT. In this volume Renzo Guardenti sets out the main issues and problems related to the investigation on the theatre iconographic documentation, based on the perspectives developed by Cesare Molinari as early as the Sixties and through the re-proposal of the most significant contributions of the Florentine school, wich are accompanied by a CD-Rom with a rich iconography. In Teatro e iconografia: un dossier the author clarifies the function of theatre iconography through various exempla, as possible document for reconstructive hypotheses of the theatrical event. Problems of data collection and processing images in the delicate issue of “series” are addressed in Il concetto di serie nell’iconografia teatrale by Cesare Molinari, who in his second paper, Satiri e baccanti fra rito e teatro nella pittura vascolare greca, focuses instead on the complex network connecting arts, ritual and theater in the Hellenic civilization, based on the analysis of vase-painting. Rembrandt e l’attore by Maria Chiara Barbieri explores the relationship between some drawings of the painter and their alleged use for effective staging, whereas Guardenti’s Ripensare l’iconografia della prima Comédie Italienne traces the evolution of the the first Commedia dell’Arte performing in France through the comparison with the iconography of the Ancien Théâtre Italien. “Mente fredda e cuore caldo”. Il trattato dell’arte scenica di Serafino Torelli by Giovanna Botti comes to terms with one of the most representative illustration of treaties on acting; finally Caterina Giolli, in Paolo e Francesca tra pittura e teatro examines the influence of the Francesca da Rimini in 1815 on the iconographic production of the Dante’s episode.