Lesson 6 – Italian Renaissance – Flashcards

An approach in study, philosophy, or practice that focuses on human values and concern

A return for the concern for the worth of humanity and earthly life not merely as preparations for eternity but as valuable in themselves

1. Justice 2. courtesy 3. magnanimity 4. integrity 5. loyalty 6. courage 7. duty

Renaissance literally means "rebirth" and refers specifically to the explosion of interest in art, science, nature and history. Revived interest in the classical theater of Greece and Rome characteriszed by an interest in individual personality, natural laws, and truth

The first three sets of wings, which were closest to the audience and given three dimensional details and some even had open arcades and galleries. Angled to provide 3-D effects and a vanishing point.

Parallel to the audience, they were used in the back when angled wings were used, along with a backdrop. Later, they were the only wings used, as they were easier to maneuver.

The capture of the capital of the Byzantine Empire against the defending army commanded by Byzantine Emperor Constantine XI

A large frame or arch, which is located at or near the front of the stage. It provides an architectural barrier between the audience and the stage that frames the picture created by the scenery and masks the devices used to create that illusion

a sovereign state consisting of a city and its dependent territories. became the model of political organization

is considered the prototype of the modern stage. signaled the decline in emblematic tradition and raise in illusionistic tradition

A political dynasty, banking family and later royal house that first began to gather prominence under Cosimo de' Medici in the Republic of Florence during the late 14th century.

Made Florence the cultural center of the Renaissance by establising wool industry, banding and commerce. They supported work of writers, artists, and scientists

Written by Nicola Sabbattini. In it, he described two methods for changing a set. 1. maneuvering new wings around those already in place 2. pulling new painted canvas around the wings to conceal the previously visible scene.

has it basis in the Renaissance interest in science and scientific inquiry. It was a reflection of people's attempt to understand and explain how the world works and brought the illusion of reality.

The scene was changed using flat wings that were mounted in such as way that they could be turned like pages in a book or by sliding flat wings in grooves.

A device for applying pressure to an inked surface resting upon a print medium, thereby transferring the ink.

They were established by Richelieu around 1630, and modeled after the Italian courts. They became the ultimate intellectual, artistic, and cultural authority which French life was based on. They became symbols of Richelieu's power in the artistic as well as the political realm.

To maintain purity of French language

One of the most influential critics of the era. Wrote two treatises that were the fullest discussions of the theory of poetry and drama yet written.

Members of elite classes of the Italian Renaissance aspired to certain values and behaviors outlined in this book. This stated that a "Renaissance Man" should be versatile rather than specialized, adept in mind and body, possessing military finesse and social grace as well as accomplishments in art, poetry, music and science. avoid ostentation and exaggeration and behave in a dignified manner

The noble family who were Lords of Verona. He was one of the most influential critics of the era. He was a French religious leader and scholar, known for expanding the notion of classical history from Greek and ancient Roman history to include Persian, Babylonian, Jewish and ancient Egyptian history.

comedy of professional artists. troupes had 10-12 members that were both male and female. They traveled frequently

A fictional character based on a common literary or social stereotype. 1. Lovers - most realistic roles, did not wear masks, dressed fashionably 2. Masters: Pantalone, Dottore, Capitano 3. Servants - zanni: minimum of 1 clever and 1 stupid. Most popular was Arlecchino

Torelli mounted the scenes to chariots, ropes and pulleys that allowed the scenes to be changed simultaneously.

The practice of acting, singing, talking and reacting, of making and creating, in the moment and in response to the stimulus of one's immediate environment and inner feelings. Was the distinguishing feature of commedia

Had the important qualities of order, authority, and grandeur that matched well with the ascendancy of France to the cultural leadership of Europe

A synoptical collage of an event or series of actions and events.

was an important figure in the development of neo-classicism, especially in drama. It was his reading of Aristotle that led to a widespread adoption of a tight version of the Three Unities, as a dramatic standard.

An improvised comic dialogue or action commonly used in the Commedia dell'arte. bits of comic business

A principle of classical rhetoric, poetry and theatrical theory that was about the fitness or otherwise of a style to a theatrical subject.

The quality of realism in something (such as film, literature, the arts, etc). (reality, morality, generality)

(the Doctor) is a commedia dell'arte stock character, a doctor or lawyer whose function in a scenario is to be an obstacle to the young lovers. Supposedly intelligent, but was easily tricked

Was the most important set designer of the middle of the seventeenth century. He was credited with the chariot and pole system

One of the most important principal characters found in commedia del arte. Was an elderly Venetian merchant, would be lover who was very frugal

commedia dell'arte stock character who was a braggart and coward. Boasts about prowess in love and war, but cowardly when challenged

Rules for drama derived from a passage in Aristotle's Poetics. 1. The unity of action: a play should have one main action that it follows, with no or few subplots. 2. The unity of place: a play should cover a single physical space and should not attempt to compress geography, nor should the stage represent more than one place. 3. The unity of time: the action in a play should take place over no more than 24 hours.

It is a number opera written in neo-classical style and includes ironic allusions to operatic conventions and situations typical of the late 18th and early 19th centuries. It even includes a parody of a duel.

A classical character that originated in the commedia dell'arte of the 17th century and became a stock character in Neapolitan puppetry.

Neoclassic critics saw in the superiority of norms the rational implication that plays should take the form of either Tragedy or Comedy and that anything else would be classified a "mixed form" and, therefore, inferior.

1. Draws characters from middle or lower classes 2. Deals with domestic and private affairs 3. Always end happily 4. Style characterized by ordinary speech

1. Draws characters from rulers or nobility 2. Deals with affairs of state, downfall of rulers or the like 3. Always ends unhappily 4. Style is poetic and lofty

An Italian Mannerist architect, who was part of the Italian team building the Palace of Fontainebleau.

the most significant scientific/artistic development to the history of theater An attempt to reproduce 3D life in 2D space. The background was painted so the ideal view of the stage was from the rulers chair

Built by Sebastiano Serlio Was the first Renaissance work on architecture to devote a section to the theater and it included illustrations of the tragic, comic, and satyric scenes

Charmingly simple and serene

Revived interest in the classical theater of Greece and Rome

Aristotle identifies tragedy as the most refined version of poetry dealing with lofty matters and comedy as the most refined version of poetry dealing with base matters. Most of theater was based on poetics. Purity of form.

Plays were performed at court festivals

Clear acting techniques, simple staging, hilarious plat lines. Stock characters, scenarios, dialogue was improvised, performance were outdoors, moved indoors with the building of public theater. Fast paced, singing, dancing, acrobatics, tumbling. Slapstick was essential, exaggerated gestures

1. scaliger 2. castelvetro 3. minturno

Emblematic tradition in medieval European theater was the use of emblems by characters to help the audience recognize certain figures or settings in a play. These emblems allowed for little decoration of a set, because simple things are used to illustrate a more complicated thing. Illusionistic tradition of the Italian Renaissance Theater was the use of visual imagery and decorations to enhance the theatrical performance. This was new to many people during this time, as this much thought and planning had never been put into a performance before this time. Both emblematic and illusionistic tradition focused on improving the theatrical performance and making the experience better for the audience. Emblematic tradition of medieval Europe allowed for little decorations of set or costumes. A king could carry a scepter to help the audience identify him, or a small altar could represent Christ's tomb. Over time, an almost universal system began to develop, meaning that a member of the audience could travel and still recognize the illusions. Illusionistic tradition in the Italian Renaissance was based on the need to understand and perfect areas of geometry and perspective, which can be seen in many pieces of art at this time. Theater artists attempted to perfect the illusion of reality using these areas. Perspective painting was used to achieve the desired effect, using geometry and math to create this illusion. The dramas of medieval Europe were simple, and many were about the same subject, Christ's life. Because of this, it was easy to set up a more or less universal system of emblematic association. It was also easier for the actors at this time to perform plays with little props as the Catholic Church had deemed them infamous, meaning that not very many people wanted to fund their productions. The Italian Renaissance dramas were intricate and complicated, stemmed from a desire of perfection. Royalty was very involved in bringing plays back to life, as they saw it as a way to gain power and prestige. One way they sought to do this was through artists, writers, and scholars, so money was readily available to writers of the theater. Emblematic and illusionistic traditions were both important in the developing of the theater. Both made the experience of the theater more easy to imagine and more realistic. These techniques are certainly used today, but the technology has progressed significantly. Emblems are still used in contemporary theater through the use of costumes. Mourners can wear black, and a king can still be signified by a scepter and red cloak. If a prop is not readily available, or is too large to use on a contemporary stage, a smaller or simpler prop can be used. Illusions are still used heavily in theater, a sound system can be used to make realistic sounds, a backdrop can be used, or invisible machinery can make actors or objects fly.