The paper sets the stage for several performance texts that are closely identified with confraternities. The contribution concentrates on the theatrum pietatis, representations of the deposition of Christ from the cross, whether as a grouping of statues (or some other static representations) or as a living tableau, which became more prevalent after the thirteenth century, with the rise, in Italy, of the confraternities of flagellants. The body of Christ, in whatever its form is represented to the faithful as a source of both private and communal devotion. The dichotomy posited between dramatic art and plastic art is resolved in the contemplation of the suffering Christ, in that both forms of art have but one intention: to engender piety in the beholder.

Bernardi, C., Theatrum Pietatis: Images, Devotion, and Lay Drama, <<MEDIAEVALIA>>, 2006; XXVII (1): 7-22 [http://hdl.handle.net/10807/36546]

Theatrum Pietatis: Images, Devotion, and Lay Drama

Bernardi, Claudio
2006

Abstract

The paper sets the stage for several performance texts that are closely identified with confraternities. The contribution concentrates on the theatrum pietatis, representations of the deposition of Christ from the cross, whether as a grouping of statues (or some other static representations) or as a living tableau, which became more prevalent after the thirteenth century, with the rise, in Italy, of the confraternities of flagellants. The body of Christ, in whatever its form is represented to the faithful as a source of both private and communal devotion. The dichotomy posited between dramatic art and plastic art is resolved in the contemplation of the suffering Christ, in that both forms of art have but one intention: to engender piety in the beholder.
Inglese
Bernardi, C., Theatrum Pietatis: Images, Devotion, and Lay Drama, <<MEDIAEVALIA>>, 2006; XXVII (1): 7-22 [http://hdl.handle.net/10807/36546]
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10807/36546
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