The thesis undertakes a general study on the dramaturgical work L'Adamo by Giovan Battista An... more The thesis undertakes a general study on the dramaturgical work L'Adamo by Giovan Battista Andreini through a textual analysis both on the more known first version (published in 1613, and then reedited, in a quasi-identical reprint, in 1617) and on the second version (1641) almost unknown to the critics; in the last case the study primarily concerns a textual and thematic comparison with the first version The thesis also conducts a research on the reference sources of the work (for both the first and the second version): various comparisons reveal the predominant reference to texts of the sacred-representative tradition and in particular to the French mysteres of the Renaissance era. It is even more than possible that, in the process of composing L'Adamo, the author has also sourced from Italian "sacre rappresentazioni"; however, it is not easy to quantify this last connection, since Italian "sacre rappresentazioni" concerning the creation of the world and Adamo and Eve's events did not survive till our times, except for very few cases; a noteworthy indirect evidence of their existence is present in the poem La palermitana by Teofilo Folengo. This general study discloses the intrinsic values and the problems concerning the work, in the two versions: the passage from the first to the second version mostly marks the change of the cultural environment and the author's attempt to conform to it. It is difficult to assign a genre classification to Andreini's Adamo in its first version and even more so in the second. The heterogeneous nature of the Andreini's drama reflects above all the double status of the work which was intended both for the literature and for the theatric scene. This fact can be also put in relation to the overall scarce response of the critics to the work, due to the excessive encumbrance of the scenic features in the literary reviewers' eyes, and the excessive burden of the literary style according to theater experts. The assortment of genres operated by Andreini in L'Adamo reflects a global view (which is proto-baroque in the first version and mature baroque in the second) where the opposites converge in a perspective which is naif and in the same time spiteful: the World (Mondo), with its heaviness and its tempting solicitations, contrasts to the celestial ascent, but at the same time, as an obstacle to the ascent, it becomes an incentive, an impulse, and a viaticum. Finally (at least in the first version) the World (Mondo) becomes Heaven (Cielo). However, if Mondo, according to the Baroque aestheticism, is a "gran teatro", then Cielo, within which Mondo fuses itself, is also bound to be, in itself, a "gran Teatro Celeste". And it is perhaps because of the intimate impulse to express all of this, that Andreini, through his Adamo, theatricalizes the celestial events where the first man was born: Coelum in Theatro.
The thesis undertakes a general study on the dramaturgical work L'Adamo by Giovan Battista An... more The thesis undertakes a general study on the dramaturgical work L'Adamo by Giovan Battista Andreini through a textual analysis both on the more known first version (published in 1613, and then reedited, in a quasi-identical reprint, in 1617) and on the second version (1641) almost unknown to the critics; in the last case the study primarily concerns a textual and thematic comparison with the first version The thesis also conducts a research on the reference sources of the work (for both the first and the second version): various comparisons reveal the predominant reference to texts of the sacred-representative tradition and in particular to the French mysteres of the Renaissance era. It is even more than possible that, in the process of composing L'Adamo, the author has also sourced from Italian "sacre rappresentazioni"; however, it is not easy to quantify this last connection, since Italian "sacre rappresentazioni" concerning the creation of the world and Adamo and Eve's events did not survive till our times, except for very few cases; a noteworthy indirect evidence of their existence is present in the poem La palermitana by Teofilo Folengo. This general study discloses the intrinsic values and the problems concerning the work, in the two versions: the passage from the first to the second version mostly marks the change of the cultural environment and the author's attempt to conform to it. It is difficult to assign a genre classification to Andreini's Adamo in its first version and even more so in the second. The heterogeneous nature of the Andreini's drama reflects above all the double status of the work which was intended both for the literature and for the theatric scene. This fact can be also put in relation to the overall scarce response of the critics to the work, due to the excessive encumbrance of the scenic features in the literary reviewers' eyes, and the excessive burden of the literary style according to theater experts. The assortment of genres operated by Andreini in L'Adamo reflects a global view (which is proto-baroque in the first version and mature baroque in the second) where the opposites converge in a perspective which is naif and in the same time spiteful: the World (Mondo), with its heaviness and its tempting solicitations, contrasts to the celestial ascent, but at the same time, as an obstacle to the ascent, it becomes an incentive, an impulse, and a viaticum. Finally (at least in the first version) the World (Mondo) becomes Heaven (Cielo). However, if Mondo, according to the Baroque aestheticism, is a "gran teatro", then Cielo, within which Mondo fuses itself, is also bound to be, in itself, a "gran Teatro Celeste". And it is perhaps because of the intimate impulse to express all of this, that Andreini, through his Adamo, theatricalizes the celestial events where the first man was born: Coelum in Theatro.
The thesis undertakes a general study on the dramaturgical work L'Adamo by Giovan Battista An... more The thesis undertakes a general study on the dramaturgical work L'Adamo by Giovan Battista Andreini through a textual analysis both on the more known first version (published in 1613, and then reedited, in a quasi-identical reprint, in 1617) and on the second version (1641) almost unknown to the critics; in the last case the study primarily concerns a textual and thematic comparison with the first version The thesis also conducts a research on the reference sources of the work (for both the first and the second version): various comparisons reveal the predominant reference to texts of the sacred-representative tradition and in particular to the French mysteres of the Renaissance era. It is even more than possible that, in the process of composing L'Adamo, the author has also sourced from Italian "sacre rappresentazioni"; however, it is not easy to quantify this last connection, since Italian "sacre rappresentazioni" concerning the creation of the world and Adamo and Eve's events did not survive till our times, except for very few cases; a noteworthy indirect evidence of their existence is present in the poem La palermitana by Teofilo Folengo. This general study discloses the intrinsic values and the problems concerning the work, in the two versions: the passage from the first to the second version mostly marks the change of the cultural environment and the author's attempt to conform to it. It is difficult to assign a genre classification to Andreini's Adamo in its first version and even more so in the second. The heterogeneous nature of the Andreini's drama reflects above all the double status of the work which was intended both for the literature and for the theatric scene. This fact can be also put in relation to the overall scarce response of the critics to the work, due to the excessive encumbrance of the scenic features in the literary reviewers' eyes, and the excessive burden of the literary style according to theater experts. The assortment of genres operated by Andreini in L'Adamo reflects a global view (which is proto-baroque in the first version and mature baroque in the second) where the opposites converge in a perspective which is naif and in the same time spiteful: the World (Mondo), with its heaviness and its tempting solicitations, contrasts to the celestial ascent, but at the same time, as an obstacle to the ascent, it becomes an incentive, an impulse, and a viaticum. Finally (at least in the first version) the World (Mondo) becomes Heaven (Cielo). However, if Mondo, according to the Baroque aestheticism, is a "gran teatro", then Cielo, within which Mondo fuses itself, is also bound to be, in itself, a "gran Teatro Celeste". And it is perhaps because of the intimate impulse to express all of this, that Andreini, through his Adamo, theatricalizes the celestial events where the first man was born: Coelum in Theatro.
The thesis undertakes a general study on the dramaturgical work L'Adamo by Giovan Battista An... more The thesis undertakes a general study on the dramaturgical work L'Adamo by Giovan Battista Andreini through a textual analysis both on the more known first version (published in 1613, and then reedited, in a quasi-identical reprint, in 1617) and on the second version (1641) almost unknown to the critics; in the last case the study primarily concerns a textual and thematic comparison with the first version The thesis also conducts a research on the reference sources of the work (for both the first and the second version): various comparisons reveal the predominant reference to texts of the sacred-representative tradition and in particular to the French mysteres of the Renaissance era. It is even more than possible that, in the process of composing L'Adamo, the author has also sourced from Italian "sacre rappresentazioni"; however, it is not easy to quantify this last connection, since Italian "sacre rappresentazioni" concerning the creation of the world and Adamo and Eve's events did not survive till our times, except for very few cases; a noteworthy indirect evidence of their existence is present in the poem La palermitana by Teofilo Folengo. This general study discloses the intrinsic values and the problems concerning the work, in the two versions: the passage from the first to the second version mostly marks the change of the cultural environment and the author's attempt to conform to it. It is difficult to assign a genre classification to Andreini's Adamo in its first version and even more so in the second. The heterogeneous nature of the Andreini's drama reflects above all the double status of the work which was intended both for the literature and for the theatric scene. This fact can be also put in relation to the overall scarce response of the critics to the work, due to the excessive encumbrance of the scenic features in the literary reviewers' eyes, and the excessive burden of the literary style according to theater experts. The assortment of genres operated by Andreini in L'Adamo reflects a global view (which is proto-baroque in the first version and mature baroque in the second) where the opposites converge in a perspective which is naif and in the same time spiteful: the World (Mondo), with its heaviness and its tempting solicitations, contrasts to the celestial ascent, but at the same time, as an obstacle to the ascent, it becomes an incentive, an impulse, and a viaticum. Finally (at least in the first version) the World (Mondo) becomes Heaven (Cielo). However, if Mondo, according to the Baroque aestheticism, is a "gran teatro", then Cielo, within which Mondo fuses itself, is also bound to be, in itself, a "gran Teatro Celeste". And it is perhaps because of the intimate impulse to express all of this, that Andreini, through his Adamo, theatricalizes the celestial events where the first man was born: Coelum in Theatro.
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