The Romantic Stage: A Many-Sided Mirror examines late eighteenth- and early nineteenth-century British theatre and drama with the conviction that they made an essential contribution to the aesthetic and ideological complexity of the British culture of the day. The essay in particular deals with P.B.Shelley's Prometheus Unbound demonstrating the poet'scapacity to create an 'organic' poem where language, music and dance are beautifully interwoven, recalling in many ways Shelley's unique experience of the Italian coreographer and dancer Salvatore Viganò whose ballet he had seen in Milan in 1818.
"'A Language in Itself Music': Salvatore Vigano's Ballet en Action in Shelley's Prometheus Unbound"
CRISAFULLI, LILLA MARIA
2014
Abstract
The Romantic Stage: A Many-Sided Mirror examines late eighteenth- and early nineteenth-century British theatre and drama with the conviction that they made an essential contribution to the aesthetic and ideological complexity of the British culture of the day. The essay in particular deals with P.B.Shelley's Prometheus Unbound demonstrating the poet'scapacity to create an 'organic' poem where language, music and dance are beautifully interwoven, recalling in many ways Shelley's unique experience of the Italian coreographer and dancer Salvatore Viganò whose ballet he had seen in Milan in 1818.File in questo prodotto:
Eventuali allegati, non sono esposti
I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
