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Thesis

French

ID: <

10670/1.5aubmy

>

Where these data come from
The plasticity of Strehlerian light. From the emergence to the affirmation of an aesthetic

Abstract

This thesis studies the art of lighting in the work of director Giorgio Strehler (1921-1997), which from the beginning has developed to become an emblematic element of his theatre and opera productions. It examines the historical, aesthetic and technical contributions to the development of a practice of light creation.In search of the reasons that led the young Strehler to instinctively adopt light as an expressive medium, we have explored the historical context of Milan in which he was formed in contact with an avant-garde culture where the contributions of visual artists — Luigi Veronesi in the first instance — appear to be fundamental. In this context, light is part of the movement to affirm stage design as an art form, bringing out the notions of rhythm, contrast and transparency that the director integrates into his aesthetic research. The concept of plasticity, associated with that of light, allows us to define the latter's capacity to condense or dilate both space and time, the here and the elsewhere being embodied or evoked by Giorgio Strehler's lighting.Next, following a chronological progression, the thesis develops a description of Strehler's practice at a time when the profession of lighting designer could still be intertwined with that of director. The way in which lighting was designed, the development of specific tools such as the Cappellotti, and the contribution of collaborators - artists and technicians - were evoked to show, through examples, the emergence of a dramaturgical use of light sources.Finally, based on unpublished documentation: fire plans, lighting notes, interviews with direct collaborators, two shows were analysed in their different versions, Goldoni's Harlequin Servant of Two Masters and Mozart's Die Entführung aus dem Serail. Through their revivals, it becomes increasingly clear that light contributes to the definition of a space that tends towards abstraction as well as the embodiment of the musical structure of the operatic form. These examples, emblematic of an aesthetic that is asserting itself, will inspire many other directors.

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