Fabio Finotti's article calls into question the well-rehearsed history of perspectival sets as self-consciuous derivations from classical texts, especially Vitruvius, by adducing the practices of painters as sources rather than records. Inverting the received story of perspectival drama as classicizing and stressing the role of extratextual practices, Finotti suggests that the primary innovations in Italian Renaissance drama may have come from visual arts.

Perspective and Stage Design, Fiction and Reality in the Italian Renaissance Theater of the Fifteenth Century

FINOTTI, FABIO
2010-01-01

Abstract

Fabio Finotti's article calls into question the well-rehearsed history of perspectival sets as self-consciuous derivations from classical texts, especially Vitruvius, by adducing the practices of painters as sources rather than records. Inverting the received story of perspectival drama as classicizing and stressing the role of extratextual practices, Finotti suggests that the primary innovations in Italian Renaissance drama may have come from visual arts.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11368/2502738
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