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Italian comedians attracted audiences to performances at every level, from the magnificent Italian, German and French court festival appearances of Orlando di Lasso or Isabella Andreini, to the humble street trestle lazzi of anonymous quacks. The characters they inspired continue to exercise a profound cultural influence, and an understanding of the commedia dell'arte and its visual record is fundamental for scholars of post-1550 European drama, literature, art and music. The 340 plates presented here are considered in the light of the rise and spread of commedia stock types, and especially Harlequin, Zanni and the actresses. Intensively researched in public and private collections in Oxford, Munich, Florence, Venice, Paris and elsewhere, they complement the familiar images of Jacques Callot and the Stockholm Recueil Fossard within a framework of hundreds of significant pictures still virtually unknown in this context. These range from anonymous popular prints to pictures by artists such as Ambrogio Brambilla, Sebastian Vrancx, Jan Bruegel, Louis de Caulery, Marten de Vos, and members of the Valckenborch and Francken clans. This volume, essential for commedia dell'arte specialists, represents an invaluable reference resource for scholars, students, theatre practitioners and artists concerned with commedia -related aspects of visual, dramatic and festival culture, in and beyond Italy.

Commedia dell'arte --- Literature [Comic] --- Pictorial works --- Painting --- Theater in art. --- Art and theater --- History and criticism. --- Themes, motives. --- Subjects

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This book revives what was unique, strange and exciting about the variety of performances that took place in the realms of the French kings and Burgundian dukes. Laura Weigert brings together a wealth of visual artifacts and practices to explore this tradition of late medieval performance located not in 'theaters' but in churches, courts, and city streets and squares. By stressing the theatricality rather than the realism of fifteenth-century visual culture and the spectacular rather than the devotional nature of its effects, she offers a new way of thinking about late medieval representation and spectatorship. She shows how images that ostensibly document medieval performance instead revise its characteristic features to conform to a playgoing experience that was associated with classical antiquity. This retrospective vision of the late medieval performance tradition contributed to its demise in sixteenth-century France and promoted assumptions about medieval theater that continue to inform the contemporary disciplines of art and theater history.

Theater in art. --- Art and society --- Theater and society --- Performing arts --- Actors --- Society and theater --- Theater --- Art --- Art and sociology --- Society and art --- Sociology and art --- Art and theater --- Show business --- Arts --- Performance art --- History --- Social aspects --- Social status

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Theaters --- Drama --- Music, Dance, Drama & Film --- Art and theater --- Design, Theatrical --- Scenery (Stage) --- Scenography --- Setting (Stage) --- Stage guides --- Stage scenery --- Stage-setting --- Staging --- Theatrical scenery --- Theater in art --- Scene painting --- Stage-setting and scenery. --- Stage-setting and scenery --- Models --- Sound effects --- Set designers

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Few creative movements have been more influential than the Bauhaus, under the leadership of Walter Gropius. The art of the theater commanded special attention. The text in this volume is a loose collection of essays by Oskar Schlemmer, Laszlo Moholy-Nagy, and Farkas Molnár (who in an illustrated essay shares his vision of a total theatre space), with an introduction by Bauhaus leader Walter Gropius. Originally published in German in 1924, Die Bühne im Bauhaus was translated by A. S. Wensinger and published by Wesleyan in 1961. It was prepared with the full cooperation of Walter Gropius and his introduction was written specially for this edition. From Bauhaus experiments there emerged a new aesthetic of stage design and presentation, a new concept of "total theater." Its principles and practices, revolutionary in their time and far in advance of all but the most experimental stagecraft today, were largely the work of Oskar Schlemmer, Laszlo Moholy-Nagy, and their students. Profusely illustrated and startling in its typography (the work of Moholy-Nagy), the 1924 volume quickly became a collector's item and is now virtually unobtainable. Those interested in the stage, the modern visual arts, or in the bold steps of the men of genius who broadened the horizons of aesthetic experience will appreciate that this translation is available again.

Costume. --- Theaters --- Fancy dress --- Motion pictures --- Opera --- Stage costume --- Theater --- Theatrical costume --- Decorative arts --- Clothing and dress --- Art and theater --- Design, Theatrical --- Scenery (Stage) --- Scenography --- Setting (Stage) --- Stage guides --- Stage scenery --- Stage-setting --- Staging --- Theatrical scenery --- Theater in art --- Scene painting --- Stage-setting and scenery. --- Costume --- Models --- Sound effects --- Bauhaus. --- Staatliches Bauhaus --- Baohaosi --- Bauhaus Dessau --- Set designers

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Set designers --- Theaters --- Interviews. --- Stage-setting and scenery. --- Toneel ; Verenigde Staten ; toneelset ontwerpen en ontwerpers --- Podiumkunsten ; enscenering --- 792.02 --- Theater ; theatertechnieken, scenografie --- scenografie --- Verenigde Staten --- 792 --- theater en ballet --- Art and theater --- Design, Theatrical --- Scenery (Stage) --- Scenography --- Setting (Stage) --- Stage guides --- Stage scenery --- Stage-setting --- Staging --- Theatrical scenery --- Theater in art --- Scene painting --- Stage designers --- Designers --- Interviews --- Stage-setting and scenery --- Models --- Sound effects --- theater --- Scenographers --- Set designers - United States - Interviews. --- Theaters - Stage-setting and scenery.