Technologies of Spectacle: Knowledge Transfer in Early Modern Theater Cultures
Organized by Jan Lazardzig (UvA) and Hole Rössler (HAB Wolfenbüttel)
09:00 – 10:30 Jan Lazardzig (Amsterdam) / Hole Rößler (Wolfenbüttel): Welcome / Introduction
10:30 – 10:45 Coffee break
10:45 – 11:45 Sara Mamone (Florence): The Uffizi Theatre: The Florentine Scene from Bernardo Buontalenti to Giulio and Alfonso Parigi
11:45 – 12:00 Coffee break
12:00 – 13:00 Guiseppe Adami (St. Andrews): Between Tradition and Innovation: Reconsidering Florentine Stage Machinery of the Seventeenth Century in the Light of the Furttenbach Codex iconographicus 401
13:00 – 15:00 Lunch break
Bijzondere Collecties, Universiteit van Amsterdam
15:00 – 16:00 Hans van Keulen / Willem Rodenhuis (Amsterdam): Presentation from the Performing Arts Special Collection Theater in Nederland (TiN)
16:00 – 17:00 Peter Eversmann (Amsterdam):The Amsterdam 'Schouwburg' of 1637: Design Influences and Technical Furnishings
17:00 – 17:30 Dominique Lauvernier (Caen): Presentation of a 3D model of the fourth intermezzo of Il Giudizio di Paride
10:00 – 11:00 Simon Paulus (Stuttgart): The View of an Engineer: Some Aspects
of Spatial and Technical Perception in the “Furttenbach-‐
11:00 – 11:15 Coffee break
11:15 – 12:15 Matteo Valleriani (Berlin): Liberty of Action and Imitation: How to Achieve a Result by Any Means 12:15 – 12:30 Coffee break
12:30 – 13:30 Stefan Hulfeld (Vienna):A Theory of Acting for Stage Machinery
Vondelzaal: Universiteit van Amsterdam, Universiteitsbibliotheek, Singel 425,
1012 WP Amsterdam
Bijzondere Collecties: Oude Turfmarkt 129, 1012 GC Amsterdam
Doelenzaal: Universiteit van Amsterdam, Universiteitsbibliotheek, Singel 425, 1012 WP Amsterdam
Please register for participation!
Dr. Jan Lazardzig Universiteit van Amsterdam Nieuwe Doelenstraat 16-‐18 1012
Dr. Hole Rößler
Herzog August Bibliothek Wolfenbüttel Lessingplatz 1
Baroque theater spectacles are frequently celebrated for their ephemerality and inimitability. The technology behind these spectacles is, in contrast, often far less unique. As is well-known, the Early Modern stage technology has its origins in the context of ducal courts of Northern Italy in the 16th century. The specific social, political, economical and medial conditions and requirements for producing, accumulating, and distributing technical knowledge, however, have found only scarce attention among historians of theater and technology so far. This workshop sets out to explore these widely neglected problem areas.
The point of departure shall be the manuscript cod. icon 401 (Bavarian State Library), which provides a rare and fascinating insight into the knowledge about stage technology in the early 17th century. Most recently, this manuscript, written in German, could be assigned to the hand of the Swabian architect and engineer Joseph Furttenbach (1591-1667). It centers machines and decorations created by the architect and stage designer Giulio Parigi for the six intermedia of Il Giudizio di Paride (1608) at the Florentine court theater. The author explicates these spectacular machines with the aid of abundant drawings and etchings. The construction and functioning of these machines was taught at Parigi’s Florentine academy of art and engineering, which Furttenbach attended (among many other stage designers of his time, like Jacques Callot, Inigo Jones, and Cosimo Lotti). Hence, this manuscript offers valuable clues to areas of Early Modern machine construction for which only little evidence is known. Furthermore, it sheds light on the practices of knowledge acquisition and knowledge transfer in engineering and scenography in Early Modern Europe.
On the basis of this material, further questions concerning the epistemological dimensions of Early Modern theater technology shall be addressed. How did the transfer of technical knowledge about stage machinery and scenography take place in Early Modern Europe? In which way was technical knowledge transformed while being transferred from one socio-cultural context to another? What were relevant factors of transformation both theoretical (terminological) and practical while adopting technical devices and their medial representations to cultural-specific social, political, and economic resources? How did the exclusivity of technical knowledge play out aesthetically and socially? What are the adequate methods for the description and analysis of technical knowledge from a theater historiographical perspective?
The workshop shall address these questions not only with regard to theater technology and architecture but also in view of larger contexts (like the apprenticeship of architects and engineers, technical drawings and notations, and the transfer of technical knowledge in the Early Modern period). The workshop shall serve in preparing a publication. An annotated transcript of the manuscript cod. icon 401 shall be provided to all participants in advance.
Confirmed participants are:
- Dr. Guiseppe Adami (Art History, University of St. Andrews, Scotland),
- Professor Stefan Hulfeld (Theater Studies, University of Vienna, Austria),
- Professor Sara Mamone (Theater Studies, University of Florence),
- Professor Claudine Moulin (Germanic Studies, University of Trier, Germany),
- Professor Simon Paulus (History of Architecture, University of Stuttgart, Germany),
- Dr. Marianne Reuter (Manuscript Expert, Bavarian State Library Munich, Germany),
- Dr. Hole Roessler (Herzog August-Bibliothek Wolfenbüttel, Germany),
- Dr. Matteo Valleriani (History of Science and Technology, Max Planck-Institute for the History of Science Berlin, Germany).