Matches in UGent Biblio for { <https://biblio.ugent.be/publication/528149#aggregation> ?p ?o. }
Showing items 1 to 31 of
31
with 100 items per page.
- aggregation classification "A2".
- aggregation creator person.
- aggregation date "2009".
- aggregation format "application/pdf".
- aggregation hasFormat 528149.bibtex.
- aggregation hasFormat 528149.csv.
- aggregation hasFormat 528149.dc.
- aggregation hasFormat 528149.didl.
- aggregation hasFormat 528149.doc.
- aggregation hasFormat 528149.json.
- aggregation hasFormat 528149.mets.
- aggregation hasFormat 528149.mods.
- aggregation hasFormat 528149.rdf.
- aggregation hasFormat 528149.ris.
- aggregation hasFormat 528149.txt.
- aggregation hasFormat 528149.xls.
- aggregation hasFormat 528149.yaml.
- aggregation isPartOf urn:issn:1522-7464.
- aggregation language "eng".
- aggregation rights "I have transferred the copyright for this publication to the publisher".
- aggregation subject "Performing Arts".
- aggregation title "Trimming scenic invention: oblique perspective as poetics of discipline".
- aggregation abstract "From the 1680s onwards, Ferdinando Galli Bibiena (1657-1743) revolutionized the art of stage design by experimenting with a so-called “manner of seeing scenes from an angle”. The scena per angolo substituted the traditional, single-point perspective with two distance points and worm’s-eye views that rendered architectures in more monumental fashion than ever before. At the same time, the new system’s reliance on backdrops and wings that were placed irregularly, instead of symmetrically, restricted the illusionary compass of perspective to enclosed spaces, rather than ‘infinite’ vistas. It reduced the theater’s optical scope by limiting itself to horizontal slices of earthly reality, devoid of the celestial and infernal. Especially noteworthy is the fact that vertical descents, especially of dei ex machina, could only be implemented in Bibiena’s schemes at the cost of upsetting vertical proportions. Not that this defect complicated stagings of contemporary Italian opera. Quite the contrary: opera seria’s poetics of verisimilitude chimed perfectly with the phenomenal breadth of two-point perspective. Yet, operatic genres hinging on the marvelous through the deployment of machinery, most notably the tragédie en musique and the various forms of feste, held on to central perspective so as to allow divine descents. Evidence for this intriguing development can be gleaned from a rich array of visual and textual sources.".
- aggregation authorList BK776770.
- aggregation endPage "43".
- aggregation issue "1-2".
- aggregation startPage "31".
- aggregation volume "34".
- aggregation aggregates 997494.
- aggregation isDescribedBy 528149.
- aggregation similarTo LU-528149.