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SPECTACLE

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The lure of the foreign stage Italian art and artistry serving the French and E...

The lure of the foreign stage Italian art and artistry serving the French and European spectacle. The proposed research is a multidisciplinary investigation on the role of spectacle during the radical transformation of European politics and culture in the decades between 1780 and 1820. Its principal aim is to define the cultur... ver más

31/10/2023

UNIVE

269K€

Presupuesto del proyecto: 269K€

Líder del proyecto

UNIVERSITA CA FOSCARI VENEZIA No se ha especificado una descripción o un objeto social para esta compañía.

TRL 4-5

Fecha límite participación Sin fecha límite de participación.

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Financiación concedida El organismo H2020 notifico la concesión del proyecto el día 2023-10-31

MSCA-IF-2019: Individual Fellowships Objective:The goal of the Individual Fellowships is to enhance the creative and innovative potential...

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3 Participantes

UNIVE

269.00K€ | Lider

NEW YORK UNIVERSITY

NYU

177.27K€ | Participante

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Duración del proyecto: 43 meses Fecha Inicio: 2020-03-18
Fecha Fin: 2023-10-31

Líder del proyecto

UNIVERSITA CA FOSCARI VENEZIA No se ha especificado una descripción o un objeto social para esta compañía.

TRL 4-5

Presupuesto del proyecto 269K€

Fecha límite de participación Sin fecha límite de participación.

Descripción del proyecto The proposed research is a multidisciplinary investigation on the role of spectacle during the radical transformation of European politics and culture in the decades between 1780 and 1820. Its principal aim is to define the cultural meaning of ‘spectacle’ and ‘spectacularity’ in eighteenth-century France. This will be achieved via an exploration of key contributions of Italian artists from different backgrounds and expertise (the designer Ignazio Degotti, the fireworks technicians in the Ruggieri family, and the circus performer Antonio Franconi and his family) to French and a wider European spectacle broadly conceived (e.g. theatre settings, public and private performances, propaganda events). Historians have examined cultural phenomena including theatre, visual arts, music, and popular manifestations as part of a more refined understanding of the pre-Revolutionary and Revolutionary process. However, the world of stage creation and popular festivals was inherently contingent, transient, and ephemeral. Due to this, artists and designers have not been given the same critical attention paid to musicians, dramatists, or visual artists. My research will cover this gap of knowledge in a growing body of scholarship which is only now beginning to address historical theatre production. Rather than reducing the purveyors of stage design to the ‘background’ of theatre and cultural history in their own ‘micro history,’ the novelty of my approach comes from integrating décor into cultural histories of seeing, experiencing, and remaking the world. By chronologically and biographically assembling visual and historical archival sources (sketches, wills, letters, contracts, private networks) scattered in diverse cultural institutions, the study will bring to the foreground material aspects of the spectacle-creative process and illuminate the interweaving lives of these artists, finally affording a deeper understanding of ‘spectacularity’ in European eighteenth-century culture.

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