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| Id | 2657 | |
| Author | Clemente S. |
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| Title | The Evolution of Theatre Features: Urban and Architectural Knots | |
| Reference | Clemente S. The Evolution of Theatre Features: Urban and Architectural Knots,Urban Book Series |
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| Link to article | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85132666256&doi=10.1007%2f978-3-030-89968-4_6&partnerID=40&md5=43e74ed839b1a64123fa9688b8e22e6e |
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| Abstract | This chapter investigates the development of the characters of the Italian theatre up to the achievement of urban centrality, up to the most recent redevelopment, recovery and restoration projects, especially in the historical fabric, carried out on the national territory or left on paper, first of all that by Carlo Scarpa for the Carlo Felice of Genoa. We will try to identify the recurring aspects both on the architectural scale and on the urban scale, answering two main questions: referring to the Italian hall, today can we exclusively speak of transformation of the existing? Aluenti, Botta, Rossi tried to modify the figurative language of theatre from inside without denying it, without abandoning the known space, returning to the codified type very close to the Renaissance use of the town square or the courtyard of the stately building. Tafuri recognizes in particular in Aldo Rossi's Carlo Felice some of the characters anticipated by Palladio in the Olympic Theatre, and by Scarpa himself, first of all the recreating an architectural space, expressive of the urban dimension, and not purely illusive beyond the fourth wall. And again: what are the main reasons for the success of the typology, such as to decree its persistence even in contrast with the European and Western context in general?. © 2022, Springer Nature Switzerland AG. |
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| Metodology | ||
| DOI | 10.1007/978-3-030-89968-4_6 | |
| Search Database | Scopus |
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