« “Mattaccin tutti noi siamo”. Giochi acrobatici e distorsioni corporee »
Résumé
The paper focuses on visual sources that allow us to understand how, in the early modern visual culture, the representation of acrobatic practices (jumpers, jugglers, mattaccini but also children) are keys not only to grasping specific playful and spectacular forms but also “extreme” bodily practices whose meaning and reception assume a particular moral and ontological coloration. While some studies have shed light on acrobatics in Antiquity (Deonna 1953) and on medieval jesters (Schmitt 1990; Clouzot 2011; Saff ioti 2012, among others), a recent essay (Schmidt 2008) by Arcangelo Tuccaro titled Trois Dialogues de l’exercice de sauter et voltiger en l’air (Paris 1599) reveals the theoretical and ennobling momentum of this kind of practice. However, art historians tend (rather simplistically) to consider the distortion of the body in the context of an aesthetic of hybridity and of the grotesque in the tradition of the “world upside down” and/or of mannerist formalism. The plastic intensity of the body and the “un-naturalness” of the movements, however, do not correspond to formal rhetoric and codified iconographies. This is the reason why the representation of acrobatics has been reconsidered on the basis of the fact that images of bodily distortions imply a reversal of polarity (high/low as a universal symbolic structure) linked not only to human physicality but also to ethical and moral issues.
Origine : Accord explicite pour ce dépôt
Licence : Copyright (Tous droits réservés)
Licence : Copyright (Tous droits réservés)