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“Il design per la Teatralità”

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dc.contributor.author Martino, Carlo
dc.date.accessioned 2012-02-11T14:16:05Z
dc.date.available 2012-02-11T14:16:05Z
dc.date.issued 2011
dc.identifier.issn 1594-8528
dc.identifier.uri http://hdl.handle.net/123456789/326
dc.description.abstract In his book ‘Il progetto della bellezza’ published in 2001, Maurizio Vitta states that Italian design is characterised by a definite theatrical feel, that is an intrinsic ability to conquer the stage, both domestic and collective, and today I would add the mass media. Andrea Branzi took up this thesis again in the first staging of the Triennale Design Museum in 2007, entitled ‘Sette Ossessioni’, in which one of the seven sections was dedicated to artefacts that were ‘actors’ on the spatial stage. This vocation for clearly ephemeral theatricality finds its strength and distinctive ability in the artefact, sign and morphological solution. The culture of the ephemeral, of temporary staging, certainly has roots far in the past, in the scenery of ancient Rome and in the medieval theatre, but it was certainly in the Baroque period that it reached maturity with complex stage machinery able to modify space and create special effects. For pure aesthetic enjoyment, these machines contaminated the sacred with the profane, concealing ingenious technical solutions, and made possible the evolution of know-how specialising in the design of devices and effective solutions with contained costs. en_US
dc.language.iso en en_US
dc.publisher Rdesignpress, Roma en_US
dc.relation.ispartofseries in DESIGN FOR MADE IN ITALY. SISTEMA DESIGN NELLE IMPRESE DI ROMA E DEL LAZIO, allegato alla rivista Disegno Industriale, Innovazione e Ricerca. Exhibit & Production Design n°10;
dc.subject Exhibit & Production Design, Exhibit design, Production Design, Design & Territory, Lazio Design System en_US
dc.title “Il design per la Teatralità” en_US
dc.title.alternative "Design for theatricality" en_US
dc.type Article en_US


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