This dissertation analyzes the theatre practice of Angelo Beolco (aka Ruzzante) and the pedagogical strategies of the Society of Jesus (aka the Jesuits) in order to forward a theory of the Baroque as a space of critical tension produced by the clash of disciplinary regimes of governance and excessive artistic expressions. I read Venice through a sceno-historiographical lens and theorize it as a staging area from which acts of Baroque composition unfolded. With a dialectical and philosophical-historical methodology (derived from the work of Theodor W. Adorno, Walter Benjamin, and Michel Foucault), I assemble archival traces of Venetian theatre prior to the construction of permanent theatre buildings in order to contribute to the writing focused on sixteenth and seventeenth-century Venetian theatre, of which currently little exists. Theatre, then, appears in this dissertation as more than mere entertainment; it becomes an active political practice embedded within an epicenter of cultural production in early modern Europe.
University of Minnesota Ph.D. dissertation. June 2010. Major: Theatre Arts. Advisor: Dr. Michal Kobialka. 1 computer file (PDF); iv, 326 pages.
“Baroque Venetian Theatre: dialectics of excess and discipline in the sixteenth and seventeenth Centuries.”.
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