Il teatro e l’indagine sull’umano. L’attore moderno in scena... all’ombra di Diderot

Can we say that the 18th century philosophe Denis Diderot and his theses of theatrical aesthetics are still relevant and viable on the modern theatre stage? The article elaborates on our contemporaneity to try to give an answer to this question, creating questionnaires-interviews with four professional actors with questions related to the key themes of Diderot's theatrical and artistic aesthetics, encountering the incredible actuality of the Diderotian vision. The idea of the actor's profession is, in its true essence, an aesthetic idea, thus stimulating a philosophical reflection based on all the great concepts of this discipline, highlighted by the theoretical and practical thought of Diderot and now investigated by the theatrical practice of contemporary actors: body, gestures, genius, interpretation, communication, expression. The sentiment of the Diderotian comédien on stage overcomes the distinction between a "warm", involved and passionate acting and a "cold", rational and controlled one, and declines its sensibility in a supra-individual meaning, in a concrete presentation of a model with a universal value but possible for the body of the actor on stage, therefore shared by spectators who observe the events happening on stage. In the same way, the modern actor trains on stage, organically and honestly, towards "becoming" in every moment and towards being legible, credible, creative, bringing to the stage actions full of questions that explore the possibilities of being human. In other words, becoming - as one of the actors interviewed in the questionnaire states in a very Diderotian way - «body of all bodies. A body that knows and can tell something universal and that makes vibrate inside the viewer the internal velvet that moves the soul. Even looking at something unrecognizable directly or consciously, I will feel narrated as a human being».

PAVILION ARCHITECTURE – A MODEL OR EPHEMERA? TOWARDS AN ELEMENTARITY OF MEANINGS

Undoubtedly, since the beginning of the 20th century, pavilion architecture has become the architect's manifesto and destroys the sense of the history of architecture, which says that architecture is subject to one aesthetic idea, forms and materials.. This paradox of the new, ‘impermanent’ paradigm is based on constant assessment and discussion in pursuit of an answer to the question about what architecture is in the present day. It may seem that some it s every answer to the originality of form, while to others, a pursuit of meanings in the simplest geometries, in the elementarity of the meanings of architectural space.

Mélisande and the silence of music

Through detailed discussion of specific moments in the opera, this chapter explores how Debussy’s Pelléas et Mélisande exemplifies the central aesthetic idea of ‘saying nothing’. The muteness of Mélisande is an idea that joins the work of Maeterlinck and Debussy to a wider aesthetic movement. It is key to the aesthetics that Mallarmé sets out in relation to the figure of the ballet dancer, whose ‘veils’ make visible a kind of nothing that appears only in her speechless movements. This muteness of art offers a critical and embodied reflection on a key category of wordlessness and the unsayable that preoccupies philosophy from Bergson, Wittgenstein, and Heidegger through to Jankélévitch, Derrida, and Nancy.

Works of Art as Support for Axiological Memory

Among the meritorious attempts to unravel the enigma of artistic creation are the views of Immanuel Kant and Arthur Schopenhauer. In the following, we want to emphasise an aspect that is less discussed in the specialised literature, namely the relation between memory and creation. We are talking about the authentic creation that Kant and Schopenhauer consider to be the one that carries in itself the Aesthetic Ideas. With minor differences, the concept, as well as the associated linguistic expression, come together in the work of both German philosophers. An authentic work of art is the work of genius and it has the role of transmitting Ideas. Thus, we will be able to observe “the secret” of a work of art – the Aesthetic Idea.

William Gilpin: A Classical Eye for the Picturesque

This essay traces William Gilpin’s responsive and rhetorical use of classical quotation in his travel writings. There he develops and establishes the new aesthetic idea of “the picturesque”. Gilpin validates his establishment of a new aesthetic by anchoring his (and our) sensibilities in classical verse, including Virgil’s. The picturesque, it seems, is no break with the past—it is classical. It reprehends the vulgar. At times, however, Gilpin refrains from classical allusion where it might seem an obvious resort, apparently keeping his territory and territorial ideas free for a purely English occupation. He may even transform his classical material into subordinate sources of heavy fact, saving the exploration and imagination for himself.

Dialogue of the Artist With the Audience: the Communicative Possibilities of Fine Arts

The article deals with the problem of communication studies in the visual arts, as well as the issues of transformation of the scope of knowledge and aspects that determine the creative thinking and perception of various forms of art. Aesthetic idea of art as a specific artistic image, in which and through which the artist as a representative art expresses its relation to reality, enters into a conversation with the destination. Concludes the reader, viewer or listener. This is the deepest essence of the communication, which is implemented as media through the web, created by the artist.