지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
The debates on ‘scaenographia’ in the development of modem theatre show us the role of Vitruvius in Renaissance architectural theories and practices. In Antiquity, the term scaenographia meant the painted device of theatre setting as well as the three-dimensional drawing and architectural rendering. The usage of the scaenographia in Vitruvius’ writing became problematic in Renaissance architects, and Serlio used the term ‘sciography’ instead of ‘scaenographia’ to distinguish the general concept theatrical device from the architectural drawing in passage 1.2.2 of Vitruvius.
It is the illusionistic effect and Greek tradition that fascinated Renaissance architects most about the features of Vitruvius’ scaenographia. There are literary sources and archaeological evidences to describe the structure of Greek stage setting developed from a simple tent to wooden buildings with the painted scenery. The 4th century BC Wurzburg bell-krater is one case representing the Classical state of stage building (skene) and a scaenographia covering the front of the skene.
It was the late Republican and early Imperial period when Roman theatrical setting met important changes, which was reflected on the Second Style Pompeian Paintings. The murals in the summer triclinium of the Villa of P. Fannius Synistor in Boscoreale and the small cubiculum of the Oplontis Villa in Torre Annunziata show us the box-like structured skene and portable scaenographia (scaenae ductile) for the change of background scene. Such devices are directly derived from Hellenistic Theatres. But during the 1st century AD the ‘scaenae ductile’ and temporary skene had been replaced with the permanent stone-built ‘scaenae frons’, and the mode of the Second Style murals was declined as well. The description of Vitruvius on scaenographia and theatre design reveals the dichotomy between the Greek tradition he supported and the actual state of early Imperial period theatre.
Including Serlio, the Western architects since the Renaissance were heavily influenced on Vitruvius’ concept of scaenographia, and applied what they interpreted as the norm of the Classical architecture to their theatre design. The highly developed and complicated Italian Baroque stage and perspective setting are the outcome of the Renaissance rediscovery of Antique theatre, which were adjusted in accordance with the requirement of contemporary audience.
It is the illusionistic effect and Greek tradition that fascinated Renaissance architects most about the features of Vitruvius’ scaenographia. There are literary sources and archaeological evidences to describe the structure of Greek stage setting developed from a simple tent to wooden buildings with the painted scenery. The 4th century BC Wurzburg bell-krater is one case representing the Classical state of stage building (skene) and a scaenographia covering the front of the skene.
It was the late Republican and early Imperial period when Roman theatrical setting met important changes, which was reflected on the Second Style Pompeian Paintings. The murals in the summer triclinium of the Villa of P. Fannius Synistor in Boscoreale and the small cubiculum of the Oplontis Villa in Torre Annunziata show us the box-like structured skene and portable scaenographia (scaenae ductile) for the change of background scene. Such devices are directly derived from Hellenistic Theatres. But during the 1st century AD the ‘scaenae ductile’ and temporary skene had been replaced with the permanent stone-built ‘scaenae frons’, and the mode of the Second Style murals was declined as well. The description of Vitruvius on scaenographia and theatre design reveals the dichotomy between the Greek tradition he supported and the actual state of early Imperial period theatre.
Including Serlio, the Western architects since the Renaissance were heavily influenced on Vitruvius’ concept of scaenographia, and applied what they interpreted as the norm of the Classical architecture to their theatre design. The highly developed and complicated Italian Baroque stage and perspective setting are the outcome of the Renaissance rediscovery of Antique theatre, which were adjusted in accordance with the requirement of contemporary audience.
목차
Ⅰ. 서론
Ⅱ. 비트루비우스의 스케노그라피아
Ⅲ. 로마 극장의 무대 장치
Ⅳ. 결론: 근대의 스케노그라피아
참고문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
Scaenae frons - 관객의 공간, 배우의 공간
미술이론과 현장
2007 .01
-
고대 미술의 공간 재현과 선 원근법의 기원
서양미술사학회논문집
2002 .06
-
Between theatre and photography, between photography and performance, between performance and theatre
드라마연구
2016 .01
-
1990년대 이윤택의 ‘대중극’ 전략 연구
한국연극학
2005 .01
-
일본 연극 교류사와 그 영향
한국예술연구
2013 .12
-
알베르티의 건축 설계론과 비트루비우스
미술이론과 현장
2010 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
플리니우스의 폴리클레이토스와 미론 : 그리스 조각 양식에 대한 로마인들의 관점
조은정
,
정은진
서양미술사학회논문집
2012
.02
18세기 프랑스 미술에서 고전 취향의 부활과 위베르 로베르(Hubert Robert)의 폐허(ruines) 미학
신상철
미술사학
2014
.08
마리니 후작의 그랜드 투어와 프랑스의 신고전주의
김정락
,
조은정
서양미술사학회논문집
2007
.08
고대 미술의 공간 재현과 선 원근법의 기원
조은정
서양미술사학회논문집
2002
.06
리시포스의 사례를 통해서 본 그리스 조각의 개인 양식과 논란들
조은정
미술사학
2014
.08
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-650-017320975