Volume 27 (2023), Edition 3-4

The category of “forme intermedie”, coined by Aby Warburg in Italian (“Zwischenformen” in German) – intermediate between art and life – allows for a broad recognition of the history of the experience of representation, not reducible to...

Louis Riccoboni distinguishes in his Observations sur la comédie et le génie de Molière between the construction of a comedy and its various forms of appearance which differ due to the fact that comedies are always related to themoral standards...

This article is dedicated to the peculiar genre of the ‘Freudenspiel’ (joy play), which was used in the German-speaking world in the 17th century. It will be shown that the term was by no means only understood as a synonym for ‘comedy’, but...

Towards the end of his life, the Venetian painter Giovanni Domenico Tiepolo (1727–1804) created the Divertimento per li Regazzi, a cycle of 104 larger-Format pen and ink drawings. This series is generally regarded as his magnum opusand is usually...

This paper analyses the threshold between the mask and the theatre persona’s character in Italian comedy between the seventeenth and eighteenth centuries. The threshold, doesn’t have to be seen as the final closure, but as the friction between...

The first secular tragedy in French, Étienne Jodelle’s tragedy Cléopâtre captive, echoes a specific historical moment, namely the siege of Metz by Charles V in the winter of 1552–1553. In the play, the Egyptian queen is defeated militarily by...

This article broaches the subject of the transformations that the Italian Commedia dell’arte underwent in ist reception in the German-speaking countries in the Early Modern Age. At the Catholic courts of Southern Germany,which were the first to...

In the favorable context of the Italianizing court of Maria de Medici, but also of Louis XIII, the article focuses on the travels of Giovan Battista Andreini in Paris between 1613 and 1625. It intends to highlight the role of the famous actor-author...

In the early 18th century, the small Venetian theatre of Sant’Angelo, managed by ‘pro tempore’ impresarios, was a hotbed of experimentation with Performing genres and a centre for the production of vocal talent careful to intercept the...

The essay examines the mise en scène of the musical dramas Eteocle e Polinice e La divisione del mondo in Venice, at the Teatro Vendramin di San Luca, in 1675, both with the music by Giovanni Legrenzi. The paper tries to rebuild theconstruction of...