The Theatre as Civic Monument
Bibliographic Data
| ID | 4550460 |
|---|---|
| Authors | Marvin Carlson (0000-0001-6629-4230, corresponding author) |
| Year | 1988 |
| Volume | 40 |
| Issue | 1 |
| Pages | 12 |
| Publication date | 1988-03-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Theatre Journal (JOURNAL) |
| Journal identifiers | ISSN: 0192-2882 • E-ISSN: 1086-332X |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/3207785 |
| OpenAlex | W2312265531 |
| Language | EN |
| Citations received | 3 |
When the opera was invented the late Renaissance, its creators generally fancied that they were reviving the modes of classical performance, but the event their experiments were so much more conditioned by the cultural assumptions and codes of their own period that the result was an entirely new genre. Nowhere is the difference between classic theatre and Renaissance opera more striking than the physical spaces created the performance of each. Hegel, a section of his Aesthetics that deals with what we might today call architectural semiotics, contrasts the architectural symbolism of the Greek temple with that of the romantic church. The former is gay, open and pleasing to the senses, a place in direct communication with the world of Nature, while the latter is wholly shut off from external Nature and all the diverting occupations and interests of finite existence--a place for an assembly of persons to concentrate their numbers one spot shut off from the rest of the world. 1
Archaeology · Art · National monument · Visual arts · Classical Antiquity Studies · History · Renaissance and Early Modern Studies · Visual Culture and Art Theory
| Unique citing works | 3 |
|---|---|
| Citations per year | 0,09 |
| Citation span | 1991 - 2014 (24) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 3 |