I ritmi dei risvegli. Focillon e Baltrušaitis, un percorso formale dalle radici comuni

Il testo di Maddalena Mazzocut-Mis dal titolo "I ritmi dei risvegli. Focillon e Baltrušaitis: un percorso formale dalle radici comuni" fa parte di "Nel cuore della meraviglia" [Atti del convegno, marzo 2000] a cura di Isabelle Mallez e Raffaele Milani, "Quaderni di PsicoArt", n. 1, 2010

Questions of taste. Diderot and the stratification of aesthetic judgement

«The further one goes to find a definition of “good taste”, the wider off the mark one gets; taste is nothing but the ability to judge what pleases or does not please the majority». This incisive definition by Rousseau, which could find many supporters, is as true as any persuasive definition, yet does not explain much. It is nonetheless incontestable that in eighteenth century France the term “taste” assumed extremely diverse and at times divergent meanings and connotations. These meanings and connotations met or clashed in Diderot’s method of thinking

The Theatre of Senses: New Perspectives of Research

In the articulation of Western thought, the senses of taste, smell and touch have been marked by exclusion, if not by condemnation and repression, compared to the more “noble” senses of sight and hearing. The European project “Senses” was born precisely on the basis of this question that concerns the opposition and the hierarchy of the senses. It investigates the ways in which theatre addresses and uses the senses of the spectator, and the possibility that theatre may stimulate a larger and more complex sensoriality. For this reason, the project also deals with the importance of Aesthetics, as a philosophical discipline which aims at understanding how the senses work and at shedding new light on the meaning of the performative aspect that characterizes the contemporary scenic arts

Azio Corghi “…tra la Carne e il Cielo” da Pier Paolo Pasolini. Drammaturgia poetica di Maddalena Mazzocut-Mis per Violoncello concertante, Recitante maschile, Soprano, Pianoforte e Orchestra

Here we publish the libretto of Azio Corghi’s Opera Tra la Carne e il Cielo, written by Maddalena Mazzocut-Mis. The libretto assembles and transforms different passages from Pier Paolo Pasolini’s texts in order to investigate the relationship within poetry between word and music.Here we publish the libretto of Azio Corghi’s Opera Tra la Carne e il Cielo, written by Maddalena Mazzocut-Mis. The libretto assembles and transforms different passages from Pier Paolo Pasolini’s texts in order to investigate the relationship within poetry between word and music

Aesthetic and ethical values. Diderot in front of a painting

Passion, structure, and technique: these are the ‘colors’ that Diderot uses to ‘paint’ his opinions in his Salons. Greuze is staged passion, Vernet is form, rhythm and ideal, and while Chardin possesses the technique and touch that are able to say everything, François Boucher is the sterility of the gesture. In Diderot’s thought, virtue can also be seen in relation to the struggle against mediocrity and bad taste. In a society dominated by the petit goût and the sterile virtuosity of the petits maîtres, real genius suffocates as taste becomes perverted. In 18th-century society, there is no art without taste.&nbsp

Cenerentola's playroom: the Rossinian masterpiece reread by director Paolo Bosisio

Recensione allo spettacolo La Cenerentola di Gioacchino Rossini, libretto di Jacopo Ferretti, regia di Paolo Bosisio, Teatro all'aperto di Kanli Kula, Montenegro, il 18 agosto 2017

Tableaux vivants. Da Diderot a Jeff Wall

From picture to photography and back. Tableau vivants, in their gestural synthetic dimension, represent for Diderot the apex of expression that the image can make explicit. Nothing closer to Wall’s poetics. His works show outstanding attention to detail: from scenic design to protagonists’ costumes, from light to actors’ action. And the result is exactly what Diderot saw in the eyes of people observing Chardin’s art: imagination at work

L’Œdipe di Voltaire tra tragedia e dramma

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