This essay focuses and analyzes Francesco Milizia’s theatrical plan, eclectic and restless theorist of fine arts, born in Apulia and established within italian and european background thanks to his Del teatro published for the first time in Rome, in 1771, but later, as it felt under catholic censure, proposed again in Venice, in 1773, with a reviewed and widened version. Milizia’s speech, placeable in a relationship of convergence as well as of originality with Enlightenment and Neoclassicism, implied as indefeasible the coincidence between formal and building perspectives of theater, that is to say between dramaturgy and stage spaces organization, as shows the wide attention the treatise has for the enhancement of the stage-set and its illumination. But what actually orients and supports the reform outlined in Del teatro is the basic role of civic and social education, given most of all to tragedy and to a renewed melodrama; as a matter of fact in this direction we find the most revealing considerations Milizia made as theorist and as polemicist: that is the statement, all sensistic-based, of the need in theater to represent and at the same time to spur intense and strong passions, and the auspice of a synergy between art and political institutions, whose absence in the late XVIIIth century Italy represented for Milizia the distance towards the great and exemplary Athene of classical times.
Francesco Milizia teorico e polemista, in "Alfieri a Roma", a cura di B. Alfonzetti e N. Bellucci
DISTASO, Grazia
2006-01-01
Abstract
This essay focuses and analyzes Francesco Milizia’s theatrical plan, eclectic and restless theorist of fine arts, born in Apulia and established within italian and european background thanks to his Del teatro published for the first time in Rome, in 1771, but later, as it felt under catholic censure, proposed again in Venice, in 1773, with a reviewed and widened version. Milizia’s speech, placeable in a relationship of convergence as well as of originality with Enlightenment and Neoclassicism, implied as indefeasible the coincidence between formal and building perspectives of theater, that is to say between dramaturgy and stage spaces organization, as shows the wide attention the treatise has for the enhancement of the stage-set and its illumination. But what actually orients and supports the reform outlined in Del teatro is the basic role of civic and social education, given most of all to tragedy and to a renewed melodrama; as a matter of fact in this direction we find the most revealing considerations Milizia made as theorist and as polemicist: that is the statement, all sensistic-based, of the need in theater to represent and at the same time to spur intense and strong passions, and the auspice of a synergy between art and political institutions, whose absence in the late XVIIIth century Italy represented for Milizia the distance towards the great and exemplary Athene of classical times.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
