Teatro y Escenografía en Florencia en la segunda mitad del Seicento. Mutaciones fin de siglo.

Resumen

From the fifteenth century, Florence inaugurated a festive typology of which there was hardly equivalent in other parts, whose best exponent was Brunelleschi. Since the mid-cinquecento Giorgio Vasari and Bernardo Buontalenti are owed the codification of the figure of the “set designer”, in addition to the speculative vertebration of the “Fiesta”, anchored in the Orphic thinking inherent in the symbolic interpretation of the Good Government ideology, codified iconographically from the Intermezzi. Although it is Giulio Parigi who best exemplifies the total artist, “through absolute control of entertainment or the royal spectacles. Regarding the copies of several fundamental works of the History of the Scenography – in a sequence that combines continuity from Parigi, through his son Alfonso and Ferdinando Tacca, Stefano della Bella, Giacopo Chiavistelli, Antonio Ferri, Filippo Acciaiuoli – preserved among the funds of the National Library of Spain (BNE), the tour through the analysis of the future of Florence of the last Medici is proposed, at the dawn of a new century and its use of theatrical resources.