The object of this article is the idea of theatrical synesthaesia, as it was developed into the relationship between painters and symbolist poets at the “Théâtre d’Art” directed by Paul Fort since november 1890 till march 1892. Aesthaetic theories of two of the most important Nabis painters (Maurice Denis and Emile Bernard) are examined in relation to the esthaetic of symbolist poets, a theorie that was based on idea of sensorial fusion and perceptive synthesis. The innovation by the Théâtre d’Art of Paul Fort was in fact more striking innovating as it was recognised till now.
Verna, M., Vers un art total. Synesthésie théâtrale et dramaturgie symboliste, <<REVUE D'HISTOIRE DU THÉÂTRE>>, 2005; 4 (Ottobre): 307-332 [http://hdl.handle.net/10807/2138]
Vers un art total. Synesthésie théâtrale et dramaturgie symboliste
Verna, Marisa
2005
Abstract
The object of this article is the idea of theatrical synesthaesia, as it was developed into the relationship between painters and symbolist poets at the “Théâtre d’Art” directed by Paul Fort since november 1890 till march 1892. Aesthaetic theories of two of the most important Nabis painters (Maurice Denis and Emile Bernard) are examined in relation to the esthaetic of symbolist poets, a theorie that was based on idea of sensorial fusion and perceptive synthesis. The innovation by the Théâtre d’Art of Paul Fort was in fact more striking innovating as it was recognised till now.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.