The paper intends to verify whether in the three works Lignum Vitae (chapters 17-32, De mysterio passionis), Vitis Mystica sive Tractatus de passione Domini and De perfectione vitae ad sorores (chap. VI, De passionis Christi memoria), Bonaventura da Bagnoregio assembles the passion narrative according to a precise dramaturgical scheme, based on which the material is selected and ordered by scenes. What images are used to visualise the event of Golgotha? How are they arranged? From which emotional posture should they be viewed and experienced? The aim is to understand the dramatic device used by Bonaventura to construct the memorable representation of the Passion as an ‘immersive theatre’ of mimetic identification.
Bino, C. M., Bonaventura drammaturgo nel 'dramma della Passione', in Marco Guida, D. S. (ed.), Bonaventura autore spirituale, SISMEL - Edizioni del Galluzzo per la Fondazione Ezio Franceschini, Firenze 2024: 13- 33 [https://hdl.handle.net/10807/299596]
Bonaventura drammaturgo nel 'dramma della Passione'
Bino, Carla Maria
2024
Abstract
The paper intends to verify whether in the three works Lignum Vitae (chapters 17-32, De mysterio passionis), Vitis Mystica sive Tractatus de passione Domini and De perfectione vitae ad sorores (chap. VI, De passionis Christi memoria), Bonaventura da Bagnoregio assembles the passion narrative according to a precise dramaturgical scheme, based on which the material is selected and ordered by scenes. What images are used to visualise the event of Golgotha? How are they arranged? From which emotional posture should they be viewed and experienced? The aim is to understand the dramatic device used by Bonaventura to construct the memorable representation of the Passion as an ‘immersive theatre’ of mimetic identification.
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