Domenico Luigi Baron of Liveri (1685-1757) was a noble philodramatic living at the Neapolitan court of King Charles of Bourbon. He was an author, a “corago” (artistic director), an actors’ teacher and the creator of three-dimensional scenes whose construction and assembly he would also supervise. He created remarkably original works and produced such powerful experiences that both Goldoni and Diderot thoroughly reflected about the results of his theatrical art. More specifically, «the artificial view of the scene», as his great admirer Pietro Napoli Signorelli defined it, was a scenic device very different from the magniloquent settings of the coeval melodrama shows. Instead of many painted telari intended to be changed at each new scene, the Baron of Liveri used to devise a single fixed urban or rural scenery made of realistic, volumetric and almost entirely walkable elements for each of his comedy. Unfortunately, the iconographic documentation that reached us only documents the stage image of only one comedy, Partenio. This article analyses the captions describing the sceneries of other Baron’s comedies and proposes some visualization hypotheses.
L’arte teatrale di Domenico Luigi Barone di Liveri (1685-1757), nobile filodrammatico vissuto alla corte napoletana del re Carlo di Borbone, autore, corago, maestro di attori e ideatore delle scene tridimensionali di cui curava la costruzione e il montaggio, si concretizzò in un’esperienza di grande suggestione e notevole originalità su cui sia Goldoni sia Diderot rifletterono attentamente. Più in particolare «l’artificiosa veduta della scena», come ebbe a definirla Pietro Napoli Signorelli, suo grande estimatore, consisteva in un dispositivo scenico ben diverso dalle magniloquenti scenografie degli spettacoli di melodramma dell’epoca. In luogo dei telari dipinti per le mutazioni, Luigi Domenico Barone costruiva per ogni sua commedia, un’unica scena di gusto realistico, volumetrica e quasi interamente praticabile a tema urbano o campestre, ma in ogni caso fissa. Purtroppo la documentazione iconografica superstite documenta soltanto l’immagine scenica di una commedia: Il Partenio. Il presente contributo prende in esame le didascalie descrittive dello spazio scenico di altre commedie del Barone e avanza alcune ipotesi di visualizzazione.
Sperimentazione scenica e aristocrazia filodrammatica nel primo Settecento napoletano
Innamorati, Isabella
2017-01-01
Abstract
Domenico Luigi Baron of Liveri (1685-1757) was a noble philodramatic living at the Neapolitan court of King Charles of Bourbon. He was an author, a “corago” (artistic director), an actors’ teacher and the creator of three-dimensional scenes whose construction and assembly he would also supervise. He created remarkably original works and produced such powerful experiences that both Goldoni and Diderot thoroughly reflected about the results of his theatrical art. More specifically, «the artificial view of the scene», as his great admirer Pietro Napoli Signorelli defined it, was a scenic device very different from the magniloquent settings of the coeval melodrama shows. Instead of many painted telari intended to be changed at each new scene, the Baron of Liveri used to devise a single fixed urban or rural scenery made of realistic, volumetric and almost entirely walkable elements for each of his comedy. Unfortunately, the iconographic documentation that reached us only documents the stage image of only one comedy, Partenio. This article analyses the captions describing the sceneries of other Baron’s comedies and proposes some visualization hypotheses.File | Dimensione | Formato | |
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