« Caminè, caminè » : l’écriture du mouvement dans L’Anconitana d’Angelo Beolco, dit Ruzante
Theatre is the place where words and gestures are combined. In the early sixteenth century, Angelo Beolco, better known as Ruzante, created in his stage writing a poetic use of gesture that affirms the increasing omnipotence of the visual over the textual. The Anconitana, an undated comedy full of m...
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| Format: | Article |
| Language: | fra |
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École Normale Supérieure de Lyon Editions
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| Series: | Laboratoire Italien |
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| Online Access: | https://journals.openedition.org/laboratoireitalien/5722 |
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| _version_ | 1841549776575791104 |
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| author | Françoise Decroisette |
| author_facet | Françoise Decroisette |
| author_sort | Françoise Decroisette |
| collection | DOAJ |
| description | Theatre is the place where words and gestures are combined. In the early sixteenth century, Angelo Beolco, better known as Ruzante, created in his stage writing a poetic use of gesture that affirms the increasing omnipotence of the visual over the textual. The Anconitana, an undated comedy full of mysteries, is undoubtedly the play that most clearly demonstrates this increase in the gesture’s power. Beolco personally inscribes his triple function as author, actor and director. |
| format | Article |
| id | doaj-art-e3f1a31e927e4d26be6d6d775c093950 |
| institution | Kabale University |
| issn | 1627-9204 2117-4970 |
| language | fra |
| publisher | École Normale Supérieure de Lyon Editions |
| record_format | Article |
| series | Laboratoire Italien |
| spelling | doaj-art-e3f1a31e927e4d26be6d6d775c0939502025-01-10T13:01:17ZfraÉcole Normale Supérieure de Lyon EditionsLaboratoire Italien1627-92042117-49702510.4000/laboratoireitalien.5722« Caminè, caminè » : l’écriture du mouvement dans L’Anconitana d’Angelo Beolco, dit RuzanteFrançoise DecroisetteTheatre is the place where words and gestures are combined. In the early sixteenth century, Angelo Beolco, better known as Ruzante, created in his stage writing a poetic use of gesture that affirms the increasing omnipotence of the visual over the textual. The Anconitana, an undated comedy full of mysteries, is undoubtedly the play that most clearly demonstrates this increase in the gesture’s power. Beolco personally inscribes his triple function as author, actor and director.https://journals.openedition.org/laboratoireitalien/5722RenaissanceVenicecomic theatreRuzanteL’Anconitanaacting |
| spellingShingle | Françoise Decroisette « Caminè, caminè » : l’écriture du mouvement dans L’Anconitana d’Angelo Beolco, dit Ruzante Laboratoire Italien Renaissance Venice comic theatre Ruzante L’Anconitana acting |
| title | « Caminè, caminè » : l’écriture du mouvement dans L’Anconitana d’Angelo Beolco, dit Ruzante |
| title_full | « Caminè, caminè » : l’écriture du mouvement dans L’Anconitana d’Angelo Beolco, dit Ruzante |
| title_fullStr | « Caminè, caminè » : l’écriture du mouvement dans L’Anconitana d’Angelo Beolco, dit Ruzante |
| title_full_unstemmed | « Caminè, caminè » : l’écriture du mouvement dans L’Anconitana d’Angelo Beolco, dit Ruzante |
| title_short | « Caminè, caminè » : l’écriture du mouvement dans L’Anconitana d’Angelo Beolco, dit Ruzante |
| title_sort | camine camine l ecriture du mouvement dans l anconitana d angelo beolco dit ruzante |
| topic | Renaissance Venice comic theatre Ruzante L’Anconitana acting |
| url | https://journals.openedition.org/laboratoireitalien/5722 |
| work_keys_str_mv | AT francoisedecroisette caminecaminelecrituredumouvementdanslanconitanadangelobeolcoditruzante |