Elisa Cazzato
My research interests range from stage design to histories of arts, theatre, and artistic networks. I am a former Marie Skłodowska Curie Global Fellow at Ca' Foscari University in Venice, with a project titled "The lure of the foreign stage: Italian art and artistry serving the French and European spectacle."
The project is part of a multidisciplinary investigation on the intersection of histories of culture, art, stage design, theatre, and community networks at the end of the eighteenth century. It focuses on the activity of Italian artists and artisans (stage designers, circus performers, and firework makers) which contributed to the creation of spectacle across Europe. "The lure of the foreign stage" is supervised by Professor Gerardo Tocchini and involves a period of research at the Université Sorbonne in Paris with Professor Renaud Bret-Vitoz and in the Department of Art History at the New York University with Professor Meredith Martin.
In 2018, I completed my PhD at The University of Sydney with a thesis titled "An Italian Artist in Paris: the career and designs of Ignazio Degotti (1758-1824)". This project was supervised by Professor Mark Ledbury and funded by The University of Sydney International Scholarship. In 2014, the "Cité Internationale des Arts" scholarship allowed me to undertake four months of archival research in Paris, hosted by the Power Institute of Sydney.
In 2018, I was also awarded a three-month scholarship by the Fondazione Giorgio Cini in Venice to complete a research project entitled "Giambattista Piranesi, Ignazio Degotti, and the succeeding archaeological paradigms (1740-1830)". Before my Ph.D. I had written a Master thesis titled "Alessandro Sanquirico e la Scenografia a Milano tra età Napoleonica e Restaurazione" under the supervision of Professor Fernando Mazzocca.
Supervisors: Gerardo Tocchini and Meredith Martin
The project is part of a multidisciplinary investigation on the intersection of histories of culture, art, stage design, theatre, and community networks at the end of the eighteenth century. It focuses on the activity of Italian artists and artisans (stage designers, circus performers, and firework makers) which contributed to the creation of spectacle across Europe. "The lure of the foreign stage" is supervised by Professor Gerardo Tocchini and involves a period of research at the Université Sorbonne in Paris with Professor Renaud Bret-Vitoz and in the Department of Art History at the New York University with Professor Meredith Martin.
In 2018, I completed my PhD at The University of Sydney with a thesis titled "An Italian Artist in Paris: the career and designs of Ignazio Degotti (1758-1824)". This project was supervised by Professor Mark Ledbury and funded by The University of Sydney International Scholarship. In 2014, the "Cité Internationale des Arts" scholarship allowed me to undertake four months of archival research in Paris, hosted by the Power Institute of Sydney.
In 2018, I was also awarded a three-month scholarship by the Fondazione Giorgio Cini in Venice to complete a research project entitled "Giambattista Piranesi, Ignazio Degotti, and the succeeding archaeological paradigms (1740-1830)". Before my Ph.D. I had written a Master thesis titled "Alessandro Sanquirico e la Scenografia a Milano tra età Napoleonica e Restaurazione" under the supervision of Professor Fernando Mazzocca.
Supervisors: Gerardo Tocchini and Meredith Martin
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Peer-reviewed Articles by Elisa Cazzato
Public Humanities of the Future: Museums, Archives, Universities and Beyond
Edited by: Kylie Message, Frank Bongiorno, Robert Wellington
Papers by Elisa Cazzato
By tracing a network of human relationships and working partnerships, it is possible to establish that the stage designer Ignazio Degotti (1758-1824), the firework makers Ruggieri family, and the circus performer Antonio Franconi (1738-1836), provided some key contributions to French spectacle broadly conceived.
Degotti was the painter in chief at the Théâtre Feydeau (1791-1797) and the Théâtre de l’Opéra (1795-1822). From 1791 to 1809 he worked at least twice with the Ruggieri and three times with Franconi. Among the titles discussed in this paper are two works staged at the Feydeau with music by Luigi Cherubini, Lodoïska (1791) and Eliza ou le voyage au Mont Saint Bernard (1794), and another, Fernand Cortez (1809), premiered at the Opéra with music by Gaspare Spontini.
An analysis of a selection of chronicles and press reviews tell us more about the outcome of these shows. Some articles provide vital information about surprising special effects and astonishing stage setting details; others give different insights through an anecdotal recounting of the misadventures of props and effects.
Stage designers and effects creators have not enjoyed the critical attention afforded to musicians or dramatists, and the role of these artists has often been a marginalised aspect of theatrical performance. My argument will be that the art of Ignazio Degotti, of the Ruggieri family, and of Antonio Franconi was both vital to the success of certain performances and in high demand. My paper seeks to attend to, and credit a group of artists described by the theatre historian Claudio Meldolesi as “migrants of the entertainment business”, who contributed to the vitality of the Parisian stage at the end of the Eighteenth century.
In my study, the connection between Cherubini and Degotti is explored on two levels. On one, I reconstruct how this relationship grew within a network of old and new Franco-Italian artistic friendships. Details on these connections are important for new biographical insights into both artists’ biographies, and they also give us a sense of a specific location in Paris (the Poissonière neighbourhood) where a community of theatrical people lived, met, and worked.
On another level, I provide an analysis of the three main operas that Degotti staged for Cherubini at the Monsieur-Feydeau: Lodoïska (18th of July 1791), Eliza ou le voyage au glaciers du Mont Saint-Bernard (13th of December 1794), and Médée (13th of March 1797). In these productions, Degotti revealed new kinds of delightful décor and gothic spaces which allowed him to express the potential of a powerful, detailed, and dynamic setting in creating a novel visual experience.
Degotti emerges as a great designer for Cherubini’s operas at the Feydeau, and as a key contributor to the operatic productions at the turn of the nineteenth century.
Conference Presentations by Elisa Cazzato
Après avoir commencé sa carrière en Italie, Degotti s’installe à Paris en 1790. Là, il travaille initialement comme décorateur au Théâtre de Monsieur. Dans la même période il travaille aussi avec l’acteur Talma et le dramaturge Jean-François Ducis pour la mise en scène d’Abufar ou La famille arabe au Théâtre de la République en 1795. Dès 1795 et jusqu’à la fin de sa carrière il est chef décorateur au Théâtre de l’Opéra. Degotti abordait son art en fin et habile connaisseur d’architecture, de perspective, de décoration et de botanique. Convaincu qu’une création d’opéra est soutenue par la composante visuelle et que le rôle du décorateur était moins celui de simple pourvoyeur de solutions scénotechniques que celui d’interlocuteur artistique, il se croyait censé offrir un niveau excellent de spectacle visuel. Ce manuscrit, qui est une lettre adressée à l’administration de l’Opéra, est une puissante affirmation de ce que, selon Degotti, un peintre de décors était ou pouvait être, et de ce dont un décorateur qualifié devait être capable. À son avis, son rôle était celui d’un intellectuel, d’un producteur d’idées, et d’un créateur qui absorbe et recrée différentes narrations moyennant le savoir scientifique, la recherche du sujet, et l’expérience personnelle.
Au travers de la vie et de la carrière de Degotti, je démontrerai la façon dont il a joué son rôle en tant que créateur de dramaturgies visuelles, situant sa pratique dans le cadre des pratiques visuelles et culturelles de la fin du XIIIe siècle. Je soutiendrai que malgré le caractère fragile et éphémère de son support, la scénographie a été pour l’opéra une composante aussi décisive que la musique, la danse et le texte.
In many ways, the ephemeral has become a key subject for our 21st- century lives, via temporary architecture and installations, digital art, but also new forms of media and social communication. However, with the invention of photography and videorecording in the late 19th- century, and with new digital technologies in contemporary times, the ephemeral has also found new ways to become enduring, sustainable, and collectable in new archival forms. Yet ephemeral art and ways of being that existed before are more difficult to trace.
The study of 18th- century artistic and performance culture has naturally focused mostly on material objects that have survived in physical or representational forms, like paintings, decorative arts, written texts, and musical scores. But what happens to those forms of art whose material nature is short-lived, fleeting, or perishable? Does the absence of a surviving object preclude the possibility of its examination?
This conference investigates the topic of ephemerality in French culture in the long 18th- century, embracing both artistic, theatrical, and performance practices created through fragile and temporal media like theatre settings, sketches, fireworks, or spectacles that were performed but never replicated or transcribed, as well as trends in modes of dress, walking, and ways of being. In order to exist, however, ephemerality needs materiality, since any creative process intersects with the material requirements that both artworks and performances need: materials, location, scripts, costumes, instruments. How do ephemerality and materiality connect within the cultural context of 18th- century France?
This conference seeks to foster a debate not only about the aesthetic significance of ephemerality but also about the political and cultural meanings of the ephemeral. It questions whether, and how, short-lived forms of art had a role in communicating ideas of power.
The conversation also embraces the politics of absence: What is the long-term effect of ephemerality? How can we create a history of the ephemeral? How do we deal with the relative paucity of sources? And how might our failure to deal with ephemerality exclude certain groups or cultures.
This paper investigates the role that the daily social life and the geographical proximity of the two cultural institutions played in consolidating artistic networks among visual and theatrical artists in Rome. It explores how the thematic choices of visual painters, overlapped, to some extent, with the stage commissions of the theatre decorators. It also highlights how these choices could be potentially influenced by the informal meetings afforded by a particular artistic location.
Keywords: Europe, Gender/Sexuality Studies, History, Performing Arts, Italy
TOPIC:
The unbalanced mobility flows and the reintegration of researchers still represents a major challenge for the EU and its Member states, and contributes to the research and innovation divide within the EU. The geographical, inter-sectoral and interdisciplinary mobility of researchers and other R&D personnel is namely a core dimension of the New European Research Area.
The 2021 MSCA Presidency Conference will highlight the unbalanced brain circulation and aim to contribute to the achievement of the flagship of the New ERA, namely to build a common scientific and technological area for the EU and to create a single market for research and innovation.
The conference will address the issue of return migration and reintegration processes of MSCA researchers after the completion of their scholarships to countries of origin as a challenge to multidimensional intra-European mobility flows of researchers. It will seek to seek to demonstrate the extent to which MSCA researchers can reduce research and innovation divide within the EU and, consequently, balance the mobility of highly educated talents within the EU.
The Slovenian Presidency will use the conference to provide a platform for in-depth discussions on unbalanced mobility flows and the reintegration of researchers. The objectives of the conference will be threefold:
- raise awareness of the importance of the return mobility and reintegration processes to foster the balanced mobility flows of MSCA researchers.
- showcase examples of existing good practices as well as barriers, instruments, and policies to promote the return migration and reintegration processes of MSCA fellows after the end of the project, their research careers, knowledge, and skills into their country of origin.
- make recommendations for the implementation of MSCA return migration and reintegration instruments and policies at EU, Member State, research organization and individual level.
https://msca21.eu/
standardized while their origins or creators went unacknowledged. These influential artists and performers, often lacking strong institutional affiliation, have not been given the same critical attention paid to visual artists, musicians, or dramatists.
This panel encourages a behind-the-scenes look at such artistic practices that can expand our view and understanding of 18th-century spectacle and its varied constituents. For example, how did artists involved in ephemeral or peripheral activities exert their individual personalities? In what ways did certain attractions like wax statues and dioramas, cabinets d’optique, and Wunderkammer inform and overlap with science and technology? How might we account for the
status of the marvelous within an era of so-called “Enlightenment” rationality? How can we appreciate décor and other special effects not only as artistic products, but also as autonomous cultural phenomena?
The session seeks to foster interdisciplinary dialogue on performance creation, stage settings, and the circulation of artists and ideas. It welcomes submissions from scholars at any career stage, as well as from arts professionals in or outside academia. Contributions informed by the experience of staging (or planning to stage) an eighteenth-century work are especially encouraged.
Deadline: 17th of September, 2021.
Fanciulli e fanciulle erano esortati a rifuggire il vivere libertino e a farsi portavoce di nuovi modelli educativi, indirizzati all’esaltazione dei valori rivoluzionari.
Nel complesso sistema teatrale parigino, molte sale cambiarono il loro nome adattandolo al linguaggio rivoluzionario e ad un nuovo intento educativo. Il Théâtre de l’Opéra, fino ad allora luogo privilegiato per sfoggiare ricchezza e nobiltà, diventò prima Théâtre des Arts nel 1794 e poi Théâtre la République et des Arts nel 1797, costituendo la sede dei festeggiamenti conclusivi de’ «La fête des Vieillards»,
Il mio intervento è volto a riflettere sugli intenti educativi intrapresi da alcuni teatri parigini, focalizzando l’attenzione su «La fête des Vieillards», come momento esemplificativo dell’ambizione post-rivoluzionaria verso una più edificante normalizzazione dei valori coniugali e familiari.
Public Humanities of the Future: Museums, Archives, Universities and Beyond
Edited by: Kylie Message, Frank Bongiorno, Robert Wellington
By tracing a network of human relationships and working partnerships, it is possible to establish that the stage designer Ignazio Degotti (1758-1824), the firework makers Ruggieri family, and the circus performer Antonio Franconi (1738-1836), provided some key contributions to French spectacle broadly conceived.
Degotti was the painter in chief at the Théâtre Feydeau (1791-1797) and the Théâtre de l’Opéra (1795-1822). From 1791 to 1809 he worked at least twice with the Ruggieri and three times with Franconi. Among the titles discussed in this paper are two works staged at the Feydeau with music by Luigi Cherubini, Lodoïska (1791) and Eliza ou le voyage au Mont Saint Bernard (1794), and another, Fernand Cortez (1809), premiered at the Opéra with music by Gaspare Spontini.
An analysis of a selection of chronicles and press reviews tell us more about the outcome of these shows. Some articles provide vital information about surprising special effects and astonishing stage setting details; others give different insights through an anecdotal recounting of the misadventures of props and effects.
Stage designers and effects creators have not enjoyed the critical attention afforded to musicians or dramatists, and the role of these artists has often been a marginalised aspect of theatrical performance. My argument will be that the art of Ignazio Degotti, of the Ruggieri family, and of Antonio Franconi was both vital to the success of certain performances and in high demand. My paper seeks to attend to, and credit a group of artists described by the theatre historian Claudio Meldolesi as “migrants of the entertainment business”, who contributed to the vitality of the Parisian stage at the end of the Eighteenth century.
In my study, the connection between Cherubini and Degotti is explored on two levels. On one, I reconstruct how this relationship grew within a network of old and new Franco-Italian artistic friendships. Details on these connections are important for new biographical insights into both artists’ biographies, and they also give us a sense of a specific location in Paris (the Poissonière neighbourhood) where a community of theatrical people lived, met, and worked.
On another level, I provide an analysis of the three main operas that Degotti staged for Cherubini at the Monsieur-Feydeau: Lodoïska (18th of July 1791), Eliza ou le voyage au glaciers du Mont Saint-Bernard (13th of December 1794), and Médée (13th of March 1797). In these productions, Degotti revealed new kinds of delightful décor and gothic spaces which allowed him to express the potential of a powerful, detailed, and dynamic setting in creating a novel visual experience.
Degotti emerges as a great designer for Cherubini’s operas at the Feydeau, and as a key contributor to the operatic productions at the turn of the nineteenth century.
Après avoir commencé sa carrière en Italie, Degotti s’installe à Paris en 1790. Là, il travaille initialement comme décorateur au Théâtre de Monsieur. Dans la même période il travaille aussi avec l’acteur Talma et le dramaturge Jean-François Ducis pour la mise en scène d’Abufar ou La famille arabe au Théâtre de la République en 1795. Dès 1795 et jusqu’à la fin de sa carrière il est chef décorateur au Théâtre de l’Opéra. Degotti abordait son art en fin et habile connaisseur d’architecture, de perspective, de décoration et de botanique. Convaincu qu’une création d’opéra est soutenue par la composante visuelle et que le rôle du décorateur était moins celui de simple pourvoyeur de solutions scénotechniques que celui d’interlocuteur artistique, il se croyait censé offrir un niveau excellent de spectacle visuel. Ce manuscrit, qui est une lettre adressée à l’administration de l’Opéra, est une puissante affirmation de ce que, selon Degotti, un peintre de décors était ou pouvait être, et de ce dont un décorateur qualifié devait être capable. À son avis, son rôle était celui d’un intellectuel, d’un producteur d’idées, et d’un créateur qui absorbe et recrée différentes narrations moyennant le savoir scientifique, la recherche du sujet, et l’expérience personnelle.
Au travers de la vie et de la carrière de Degotti, je démontrerai la façon dont il a joué son rôle en tant que créateur de dramaturgies visuelles, situant sa pratique dans le cadre des pratiques visuelles et culturelles de la fin du XIIIe siècle. Je soutiendrai que malgré le caractère fragile et éphémère de son support, la scénographie a été pour l’opéra une composante aussi décisive que la musique, la danse et le texte.
In many ways, the ephemeral has become a key subject for our 21st- century lives, via temporary architecture and installations, digital art, but also new forms of media and social communication. However, with the invention of photography and videorecording in the late 19th- century, and with new digital technologies in contemporary times, the ephemeral has also found new ways to become enduring, sustainable, and collectable in new archival forms. Yet ephemeral art and ways of being that existed before are more difficult to trace.
The study of 18th- century artistic and performance culture has naturally focused mostly on material objects that have survived in physical or representational forms, like paintings, decorative arts, written texts, and musical scores. But what happens to those forms of art whose material nature is short-lived, fleeting, or perishable? Does the absence of a surviving object preclude the possibility of its examination?
This conference investigates the topic of ephemerality in French culture in the long 18th- century, embracing both artistic, theatrical, and performance practices created through fragile and temporal media like theatre settings, sketches, fireworks, or spectacles that were performed but never replicated or transcribed, as well as trends in modes of dress, walking, and ways of being. In order to exist, however, ephemerality needs materiality, since any creative process intersects with the material requirements that both artworks and performances need: materials, location, scripts, costumes, instruments. How do ephemerality and materiality connect within the cultural context of 18th- century France?
This conference seeks to foster a debate not only about the aesthetic significance of ephemerality but also about the political and cultural meanings of the ephemeral. It questions whether, and how, short-lived forms of art had a role in communicating ideas of power.
The conversation also embraces the politics of absence: What is the long-term effect of ephemerality? How can we create a history of the ephemeral? How do we deal with the relative paucity of sources? And how might our failure to deal with ephemerality exclude certain groups or cultures.
This paper investigates the role that the daily social life and the geographical proximity of the two cultural institutions played in consolidating artistic networks among visual and theatrical artists in Rome. It explores how the thematic choices of visual painters, overlapped, to some extent, with the stage commissions of the theatre decorators. It also highlights how these choices could be potentially influenced by the informal meetings afforded by a particular artistic location.
Keywords: Europe, Gender/Sexuality Studies, History, Performing Arts, Italy
TOPIC:
The unbalanced mobility flows and the reintegration of researchers still represents a major challenge for the EU and its Member states, and contributes to the research and innovation divide within the EU. The geographical, inter-sectoral and interdisciplinary mobility of researchers and other R&D personnel is namely a core dimension of the New European Research Area.
The 2021 MSCA Presidency Conference will highlight the unbalanced brain circulation and aim to contribute to the achievement of the flagship of the New ERA, namely to build a common scientific and technological area for the EU and to create a single market for research and innovation.
The conference will address the issue of return migration and reintegration processes of MSCA researchers after the completion of their scholarships to countries of origin as a challenge to multidimensional intra-European mobility flows of researchers. It will seek to seek to demonstrate the extent to which MSCA researchers can reduce research and innovation divide within the EU and, consequently, balance the mobility of highly educated talents within the EU.
The Slovenian Presidency will use the conference to provide a platform for in-depth discussions on unbalanced mobility flows and the reintegration of researchers. The objectives of the conference will be threefold:
- raise awareness of the importance of the return mobility and reintegration processes to foster the balanced mobility flows of MSCA researchers.
- showcase examples of existing good practices as well as barriers, instruments, and policies to promote the return migration and reintegration processes of MSCA fellows after the end of the project, their research careers, knowledge, and skills into their country of origin.
- make recommendations for the implementation of MSCA return migration and reintegration instruments and policies at EU, Member State, research organization and individual level.
https://msca21.eu/
standardized while their origins or creators went unacknowledged. These influential artists and performers, often lacking strong institutional affiliation, have not been given the same critical attention paid to visual artists, musicians, or dramatists.
This panel encourages a behind-the-scenes look at such artistic practices that can expand our view and understanding of 18th-century spectacle and its varied constituents. For example, how did artists involved in ephemeral or peripheral activities exert their individual personalities? In what ways did certain attractions like wax statues and dioramas, cabinets d’optique, and Wunderkammer inform and overlap with science and technology? How might we account for the
status of the marvelous within an era of so-called “Enlightenment” rationality? How can we appreciate décor and other special effects not only as artistic products, but also as autonomous cultural phenomena?
The session seeks to foster interdisciplinary dialogue on performance creation, stage settings, and the circulation of artists and ideas. It welcomes submissions from scholars at any career stage, as well as from arts professionals in or outside academia. Contributions informed by the experience of staging (or planning to stage) an eighteenth-century work are especially encouraged.
Deadline: 17th of September, 2021.
Fanciulli e fanciulle erano esortati a rifuggire il vivere libertino e a farsi portavoce di nuovi modelli educativi, indirizzati all’esaltazione dei valori rivoluzionari.
Nel complesso sistema teatrale parigino, molte sale cambiarono il loro nome adattandolo al linguaggio rivoluzionario e ad un nuovo intento educativo. Il Théâtre de l’Opéra, fino ad allora luogo privilegiato per sfoggiare ricchezza e nobiltà, diventò prima Théâtre des Arts nel 1794 e poi Théâtre la République et des Arts nel 1797, costituendo la sede dei festeggiamenti conclusivi de’ «La fête des Vieillards»,
Il mio intervento è volto a riflettere sugli intenti educativi intrapresi da alcuni teatri parigini, focalizzando l’attenzione su «La fête des Vieillards», come momento esemplificativo dell’ambizione post-rivoluzionaria verso una più edificante normalizzazione dei valori coniugali e familiari.
Obiettivo principale della ricerca, è presentare rapporti sociali e migrazioni artistiche franco-italiane di fine Settecento, attraverso la ricostruzione delle vicende dello scenografo Ignazio Degotti (1758-1824). Nato a Torino nel 1758, tra il 1777 e il 1783 Degotti si specializza in pittura e decorazione teatrale, operando nell’ambiente francofilo dell’Accademia Reale di Pittura e Scultura, sotto la guida dei fratelli Galliari. Dal 1786 al 1790 è tra Roma e Napoli, dove stringe rapporti con influenti personalità prossime all’ambiente culturale francese. Ingaggiato dal violinista e compatriota Gian Battista Viotti (1755-1824) per il Théâtre de Monsieur, lo scenografo piemontese si stabilisce a Parigi nel 1790. Dal 1795 è pittore ufficiale al Théâtre de l’Opéra, un sodalizio professionale che prosegue in modo irregolare e controverso fino al 1822. Di fondamentale importanza per questa indagine risultano le relazioni che lo scenografo instaura con un’ampia cerchia di artisti e musicisti attivi tra Italia e Francia. L’attività di Degotti è infatti riconosciuta ed apprezzata da molti suoi contemporanei e tra i maggiori sostenitori rammentiamo il pittore Jacques-Louis David (1748-1825), che inserisce il ritratto dell’italiano nella monumentale Incoronazione di Napoleone (1805-1808, Musée du Louvre, Parigi INV. 3699).Per la prima volta uno studio monografico sulla figura di Degotti mette luce sulla lacunosa biografia dell’artista e chiarisce alcuni aspetti relativi la sua vita, riflettendo in senso più ampio sul significato della scenografia come pratica artistica tra fine Settecento e primo Ottocento.
Quali erano gli scenari maggiormente richiesti dal repertorio teatrale di fine secolo e in che modo i pittori di scene si documentavano per realizzarli?
Delineando l’operato artistico di due artisti, Ignazio Degotti (1758-1824) a Parigi e Antonio Basoli (1774-1848) a Bologna, si affronta il tema della formazione artistica del decoratore di scene e delle fonti a sua disposizione. Il recupero dell’antico era un passaggio necessario per la rappresentazione del passato che avveniva attraverso un attento studio sulle rovine, sui testi specialistici e sui repertori di antiquaria. Incisioni, bozzetti scenografici e cronache di giornale informano su come la relativa libertà del mezzo teatrale permetteva all’artista di poter giocare con l’inventiva e proporre in scena un passato spesso fantasioso e immaginato, seppur non privo di riferimenti reali.
Per gli scenografi di fine secolo, la produzione incisoria di Giambattista Piranesi (1720-1778) era una fonte di studio privilegiata. Piranesi, avendo usato la scenografia come campo di sperimentazione era stato un pioniere nelle ricostruzioni del passato, senza mai allontanarsi del tutto dalla veridicità di una solida conoscenza antiquaria. Gli artisti che si ispireranno a lui, come Degotti e Basoli, porteranno sulle scene teatrali l’esuberanza di un’immaginazione fervida e febbrile che ben caratterizzerà le stagioni teatrali di fine Settecento. Nell’Ottocento dominato da Alessandro Sanquirico, questo tipo di immaginario lascerà spazio ad un nuovo momento della scenografia teatrale caratterizzato da una maggiore compostezza, rigore e pulizia delle architetture, definite forse troppo severamente “gelide” da Giulio Ferrari nel 1902.
Le maestranze italiane attive in Francia tra Rivoluzione e primo Impero sono oggetto di studio meno frequente rispetto ai contributi drammaturgici o musicologici offerti dagli italiani emigrati oltralpe. Nonostante il ruolo di questi artisti sia stato spesso marginalizzato a quello di ‘addetti ai lavori’, l’abilità di Degotti, dei Ruggieri e di Franconi, permise loro di occupare posizioni di prestigio e di rendere la loro attività artistica indispensabile in Francia. L’intervento vuole quindi ridare il giusto credito ad un momento storico di grande vivacità e di “spettacolarità immigrata” così come è stata definita da Claudio Meldolesi.
Dipartimento di Studi Umanistici Università degli Studi di Napoli Federico II
18-20 maggio 2023
Comitato organizzatore: Giancarlo Alfano, Giulia Bonazza, Alessandro Buono, Diego Carnevale, Elisa Cazzato, Domenico Cecere, Paolo Conte, Francesco Dendena, Cinzia Recca, Felicita Tramontana
The aim of these postdoctoral fellowships is to foster career development and excellence in research, and both European and U.S. scholars are eligible to apply for them. They are designed for researchers with a PhD in all disciplines who wish to carry out their research activities abroad, acquire new skills, and develop their careers. MSC-PFs help researchers gain experience in other countries, different disciplines, and nonacademic sectors. Interested researchers submit an application to the EU together with a host organization, which can be a university or a research institution based in an EU Member State. The MSC-PFs support the recruited researcher in the form of a living stipend, a travel allowance, and, if applicable, funds to support family members, long-term leave, and special needs. In addition, funding is provided for research, training, and networking activities, as well as management and indirect costs.
This workshop is addressed to potential fellows interested in applying for a period of research and training in Europe, supervisors who wish to sponsor a scholar from abroad at NYU, and administrative staff who want to receive additional information on the MSCA awards. Speakers will share their personal experiences and provide additional information about the program and how to apply.