ERC-Projekt "Early Modern European Drama and the Cultural Net" (DramaNet)
The Dramaturgy of the Spectator: Theatre, Audience, and the Public Sphere in Late Seventeenth- and Eighteenth-Century Italy
How did spectators experience theatre at the dawn of modernity? How we can reconstruct, describe, and better understand the theatre audiences of the seventeenth and eighteenth centuries? What dramatic techniques did playwrights develop in response to the horizon of expectations of theatre-goers? How did public response, in turn, influence the production and circulation of dramatic works?How and why did audience members in this period gain visibility in discourse about theatre and become both a force of influence and a force worth influencing? When did audience response begin to rival the judgment of specialists and become the primary arbiter of the quality of theatrical performances? What theories on the role of the spectator were developed in eighteenth-century dramatic and aesthetic criticism?
The aim of this book is to provide compelling answers to these unresolved questions. By defining and delineating the formation and evolution of the Italian theatre public from the mid-Seicento through the late Settecento, this book pioneers a shift in the way we think about the audience as both theoretical concept and historical phenomenon. More specifically, this study investigates and then moves beyond spectatorship per se to explore and analyze its reflexive relationship with social and cultural politics in Italy, especially as they concern sovereignty, power structures, and the emergent public sphere.
Alter et ipse: identità e duplicità nel sistema dei personaggi della Tebaide di Stazio, Pisa: ETS, 2011.
Dramatic Experience: Poetics of Drama and the Public Sphere(s) in Early Modern Europe and Beyond, Hgg. v. Tatiana Korneeva, Kirill Ospovat und Katja Gvozdeva, Leiden: Brill, 2016 (im Druck).