La seconda pelle

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Campo DC	Valore
dc.identifier	ECF_article_2400
dc.title	La seconda pelle
dc.contributor.author	Biggi Maria Ida
dc.publisher	Edizioni Ca’ Foscari - Digital Publishing
dc.type	Articolo
dc.language.iso	it
dc.identifier.uri	http://edizionicafoscari.it/it/edizioni4/riviste/venezia-arti/2019/1/la-seconda-pelle/
dc.description.abstract	The avant-garde movements and the theatre masters of the early twentieth century opposed to the idea of a realistic and stylistically recreated theatre costume and gave to the stage clothes a symbolic and expressive meaning. The experimentations of the early twentieth century and the more recent research overcome the idea of the identification of the costume with the character to transform the performer’s body in an art object and figurative element that are essential to the visual composition of the entire show. The current article is intended to examine the extremely close link existing between the performer’s body and the position of the theatrical costume.
dc.relation.ispartof	Venezia Arti
dc.relation.ispartof	Vol. 28 \| Dicembre 2019
dc.issued	2019-12-11
dc.dateAccepted	2019-07-29
dc.dateSubmitted	2019-07-17
dc.identifier.issn
dc.identifier.eissn	2385-2720
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
dc.identifier.doi	10.30687/VA/2385-2720/2019/01/007
dc.peer-review	yes
dc.subject	Costume
dc.subject	Costume
dc.subject	Dance
dc.subject	Dance
dc.subject	Performer
dc.subject	Performer
dc.subject	Skin
dc.subject	Skin
dc.subject	Stage
dc.subject	Stage
dc.subject	Theatre
dc.subject	Theatre

Articolo
open access peer reviewed

La seconda pelle

Maria Ida Biggi Università Ca’ Foscari Venezia, Italia

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abstract

The avant-garde movements and the theatre masters of the early twentieth century opposed to the idea of a realistic and stylistically recreated theatre costume and gave to the stage clothes a symbolic and expressive meaning. The experimentations of the early twentieth century and the more recent research overcome the idea of the identification of the costume with the character to transform the performer’s body in an art object and figurative element that are essential to the visual composition of the entire show. The current article is intended to examine the extremely close link existing between the performer’s body and the position of the theatrical costume.

Pubblicato

11 Dicembre 2019

Accettato

29 Luglio 2019

Presentato

17 Luglio 2019

Lingua

Keywords: Costume • Skin • Dance • Theatre • Performer • Stage

permalink http://doi.org/10.30687/VA/2385-2720/2019/01/007

Copyright: © 2019 Maria Ida Biggi. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.

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