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Palgrave Macmillan

Baroque, Venice, Theatre, Philosophy

  • Book
  • © 2017

Overview

Authors:
  1. Will Daddario

    1. Independent Scholar, Asheville, USA

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  • Provides a simultaneously detailed and accessible analysis of Baroque aesthetics
  • Takes a multidisciplinary approach to this under-explored subject, opening up the topic's analysis and interpretation to a wider audience
  • Investigates the intersection of contemporary and medieval philosophy in its exploration of Italian Baroque culture

Part of the book series: Performance Philosophy (PPH)

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Table of contents (7 chapters)

  1. Front Matter

    Pages i-ix
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  2. Introduction

    • Will Daddario
    Pages 1-18

  4. Discipline and Excess

    1. Front Matter

      Pages 109-109
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    2. Ruzzante Takes Place

      • Will Daddario
      Pages 111-158

    3. The Enscenement of Self and the Jesuit Teatro del Mondo

      • Will Daddario
      Pages 159-202

    4. Baroque Diarchic Self

      • Will Daddario
      Pages 203-246

  5. Back Matter

    Pages 247-261
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Keywords

About this book

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.

Reviews

“Baroque, Venice, Theatre, Philosophy is a clearly written, closely argued, and carefully drawn study of the Italian baroque in historical (sixteenth and seventeenth centuries), architectural, and metaphorical space and time.” (Spencer Golub,Theatre Journal, Vol. 71 (4), December, 2019)

“A worthy addition to the Jesuit theater bookshelf.” (Kevin J. Wetmore, Journal of Jesuit Studies, Vol. 5, 2018)

Authors and Affiliations

  • Independent Scholar, Asheville, USA

    Will Daddario

About the author

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


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