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Baroque, Venice, Theatre, Philosophy [Paperback]

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  • Category: Books (Performing Arts)
  • Author:  Daddario, Will
  • Author:  Daddario, Will
  • ISBN-10:  3319841793
  • ISBN-10:  3319841793
  • ISBN-13:  9783319841793
  • ISBN-13:  9783319841793
  • Publisher:  Palgrave Macmillan
  • Publisher:  Palgrave Macmillan
  • Binding:  Paperback
  • Binding:  Paperback
  • Pub Date:  01-Apr-2018
  • Pub Date:  01-Apr-2018
  • SKU:  3319841793-11-SPRI
  • SKU:  3319841793-11-SPRI
  • Item ID: 102436870
  • List Price: $109.99
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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.
Introduction.- Part I. Baroque Pastoral.- Chapter 1. Garden Thinking and Baroque Pastoral.- Chapter 2. Pastoral Askew and Aslant.- Chapter 3. Jesuit Pastoral Theatre.- Part II. Discipline and Excess.- Chapter 4. Ruzzante Takes Place.- Chapter 5. The Enscenement of Self and the Jesuit 'Teatro del Mondo'.- Chapter 6. Baroque Diarchic Self.- Bibliography.- Index.

Will Daddario is Co-Editor with Karoline Gritzner of Adorno and Performance (2014) and with Laura Cull ? 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.


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, movingl2
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