Dancing Statues and the Myth of Venice: Ancient Sculpture on the Opera Stage

Heller, Wendy

doi:10.1111/j.1467-8365.2010.00745.x

Art History

2010

DOI: 10.1111/j.1467-8365.2010.00745.x

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Dancing Statues and the Myth of Venice: Ancient Sculpture on the Opera Stage

Wendy Heller¹

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Cited by 3 publications

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Displays of Sugar Sculpture and the Collection of Antiquities in Late Renaissance Venice

Kociszewska

2020

Renaiss. Q.

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This article examines the sugar sculptures created for a ball in honor of Henri III of France in the Palazzo Ducale in Venice in 1574. The first part discusses the production and display of the statuettes. In the next section, the setting of the sugar sculptures is examined in the context of the collation prepared for the king in Palazzo Grimani in Santa Maria Formosa, which contains the city's greatest collection of antiquities. Finally, the article examines the possible relationships between sugar statuettes and ancient sculptures and their use in crafting the image of Venice as a new Rome.

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Displays of Sugar Sculpture and the Collection of Antiquities in Late Renaissance Venice

Kociszewska

2020

Renaiss. Q.

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Alignment, Absorption, Animation: Pantomime Ballet in the Lombard Illuminismo

Lockhart¹

2011

Eighteenth Century Music

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This article investigates the theme of statuary animation within pantomime and language reform, particularly in Milan between the 1760s and the 1790s. Its focal point is a little-known work created by Florentine choreographer Gasparo Angiolini for the new Teatro alla Scala in 1782: his didactic ‘philosophical ballet’ La vendetta spiritosa, based on the Traité des sensations by Étienne Bonnot de Condillac (in Venice the work was given as La vendetta ingegnosa o La statua di Condilliac [sic]). During the last decades of his career, informed by French linguistic theory and by Milanese writers such as the Verri brothers and Cesare Beccaria, Angiolini aimed to create an unmediated music-gestural language that could overcome linguistic and even political boundaries. The project had significant implications for the use of representative sound, both in music and in language. I examine the development of the impulse towards gestural mimesis and through-composition within scores for the danza parlante, including by Angiolini himself.

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Les transports du masque et du déguisement. Pratiques et performativité de l’imag(air)e (et) du paraître à la fin du XVI<sup>e </sup>siècle = Means and delight of wearing mask and disguise. Practices and performativity of image and imagination (and) of apperances in the late sixteenth century

Maillard

2018

ETFVII

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A la fin du XVI e siècle, la pratique du masque en tant qu'image portée subit un renouvellement primordial qui, le rapprochant du déguisement, aura un impact profond sur l'évolution des conceptions touchant la subjectivité. En utilisant la sémiotique communicationnelle et l'anthropologie culturelle et historique, cet article entend démasquer les mécanismes à l'oeuvre dans cette métamorphose. En observant le Balet comique de la Royne (1582) au prisme d'images et d'imaginaires en réseau, l'analyse montre que du dess(e)in du masque à son animation, le décadrage de pratiques et théories dévotionnelles, artistiques et sociales dans les normes du dispositif vestimentaire a été l'agent de cette réforme des usages du masque. Par conversion, conformation, sublimation, à la fin du XVI e siècle, l'image portée agit le masque et, en conférant son statut au masqué, elle le transporte vers de nouvelles normes de la subjectivité, où le corps qu'elle investit devient un objet d'art consacrant un personnage. Mots-clés (Habit de) masque ; transport ; images votives ; pratiques dévotionnelles ; sémiotique communicationnelle ; dispositif vestimentaire ; objet-image/image-objet ; conformation.

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Dancing Statues and the Myth of Venice: Ancient Sculpture on the Opera Stage

Cited by 3 publications

References 4 publications

Displays of Sugar Sculpture and the Collection of Antiquities in Late Renaissance Venice

Displays of Sugar Sculpture and the Collection of Antiquities in Late Renaissance Venice

Alignment, Absorption, Animation: Pantomime Ballet in the Lombard Illuminismo

Les transports du masque et du déguisement. Pratiques et performativité de l’imag(air)e (et) du paraître à la fin du XVI<sup>e </sup>siècle = Means and delight of wearing mask and disguise. Practices and performativity of image and imagination (and) of apperances in the late sixteenth century

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