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Strategies of subversion: the power of live performance within the walls of a Renaissance city

Strategies of subversion: the power of live performance within the walls of a Renaissance city According to Argan, during the early modern period, 'a theory, or science, of the city was created', a science founded on the principle that 'the perfect architectural and urban form of the city corresponded to the perfection of its political and social arrangements, conceived and carried out by the wisdom of the prince'. This process was supported by spectacular and festive events which were regulated by a common vision of reality informed by the overarching Renaissance perspective. This perspective eventually created a form of representation that, as Lefebvre states, 'became enshrined in architectural and urbanistic practice as the code of linear perspective'. What I hope to investigate with this paper, however, is not so much the emergence of this code and the hegemonic set of discourses and practices controlling vision, but rather the oppositional moments – within theatrical representations – by means which dominant practices and techniques were resisted. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png International Journal of Arts and Technology Inderscience Publishers

Strategies of subversion: the power of live performance within the walls of a Renaissance city

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References (25)

Publisher
Inderscience Publishers
Copyright
Copyright © Inderscience Enterprises Ltd. All rights reserved
ISSN
1754-8853
eISSN
1754-8861
DOI
10.1504/IJART.2009.028925
Publisher site
See Article on Publisher Site

Abstract

According to Argan, during the early modern period, 'a theory, or science, of the city was created', a science founded on the principle that 'the perfect architectural and urban form of the city corresponded to the perfection of its political and social arrangements, conceived and carried out by the wisdom of the prince'. This process was supported by spectacular and festive events which were regulated by a common vision of reality informed by the overarching Renaissance perspective. This perspective eventually created a form of representation that, as Lefebvre states, 'became enshrined in architectural and urbanistic practice as the code of linear perspective'. What I hope to investigate with this paper, however, is not so much the emergence of this code and the hegemonic set of discourses and practices controlling vision, but rather the oppositional moments – within theatrical representations – by means which dominant practices and techniques were resisted.

Journal

International Journal of Arts and TechnologyInderscience Publishers

Published: Jan 1, 2009

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