Dissertations / Theses on the topic 'Biennale Teatro di Venezia'
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Bruzzese, Benedetta <1990>. "Il Teatro in soffitta. Gli Archivi teatrali in Italia e il caso dell'Archivio storico delle Arti Contemporanee della Biennale di Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6692.
Full textMarchesin, Giorgia <1990>. "La Biblioteca della Biennale di Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10227.
Full textAncorato, Angelo <1986>. "La partecipazione delle Filippine alla Biennale di Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/9414.
Full textMartini, Maria Vittoria <1975>. "La Biennale di Venezia 1968-1978 : la rivoluzione incompiuta." Doctoral thesis, Università Ca' Foscari Venezia, 2011. http://hdl.handle.net/10579/1125.
Full textIn 1968 the art critic Lawrence Alloway ended The Venice Biennale 1895-1968. From salon to goldfish bowl asserting that it was necessary that Venice Biennale worked out a “control system” on its exhibitions in order to solve its complex “cellular structure”. It is in this very moment that this research inserts itself chronologically. The institutional and functional crisis came to the apex in 1968 when the Biennale became the target of the protests for these reasons. The quest for a radical renewal of the cultural institution coming from civil society, finally expressed itself in the 1973 “democratic and antifascist” reform. This research hypothesis is that the “control system” on the exhibitions has found and tested in occasion of 1976 Biennale and that it was the result of all the civil and cultural experiences developed soon after ’68 protests in and around the Venice Biennale.
Ricci, Clarissa <1977>. "La Biennale di Venezia 1993-2003 : l'esposizione come piattaforma." Doctoral thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4596.
Full textThe research examines The Venice Biennale main exhibition of visual arts from the years of 1993 to 2003, investigating the consolidation of the “exhibition platform model” in contemporary art practices. During the decade examined, six consecutive exhibitions of visual arts mark, in different ways, the history of the Venice Biennale, in those years undergoing a bureaucratically and organizational renovation encompassing also the cultural agenda, and the history of art exhibitions. The research’s focal points are the reconstruction of the exhibitions’ displays and the Biennale‘s historical and organizational context. Such examination allows us to understand the exhibitions structures, their theoretical characteristics and the changes they spark.
Crespi, Giulia <1986>. "La Spagna alla Biennale di Venezia dal 1976 al 2009." Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/2100.
Full textTessari, Laura <1989>. "Gli eventi collaterali. Il caso studio della Biennale di Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8948.
Full textAmadi, Francesca <1984>. "Arte relazionale alla Biennale di Venezia dal 1999 al 2017." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10827.
Full textMOSETTI, ALESSANDRO VIRGILIO. "Venezia teatro di teoria e tecnica." Doctoral thesis, Università IUAV di Venezia, 2022. http://hdl.handle.net/11578/315468.
Full textChia, Samantha <1993>. "Il padiglione della Repubblica di Corea alla Biennale di Venezia. Arte come Identità." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15126.
Full textFontana, Cristina <1990>. "Manifesti e pubblicità della Biennale di Venezia dal 1895 al 1950." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/5122.
Full textGaggetta, Giulia <1991>. "Venezia. Cinema anni '80. Dal cinema all'aperto alla Biennale di Lizzani." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12158.
Full textDe, Stefano Sabina Laura <1992>. "Giovani artisti alla Biennale di Venezia: la rassegna “Aperto” (1980-1993)." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16652.
Full textMay, Jan Andreas. "La Biennale di Venezia : Kontinuität und Wandel in der venezianischen Ausstellungspolitik 1895-1948 /." Berlin : Akademie-Verl, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017123813&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
Full textMay, Jan Andreas. "La Biennale di Venezia Kontinuität und Wandel in der venezianischen Ausstellungspolitik 1895 - 1948." Berlin Akad.-Verl, 2006. http://d-nb.info/991757661/04.
Full textBertocco, Samuele <1996>. ""Our machines are disturbingly lively". L'arte digitale alla 58° Biennale di Venezia del 2019." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/20159.
Full textGori, Giulia. "ARIANNA - percorso a filo d'acqua per la riconnessione tra gli spazi disgiunti della Biennale di Venezia." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2017.
Find full textCoidessa, Clarissa <1992>. "Donne artiste alla Biennale d’arte di Venezia. Analisi e studio di una partecipazione ancora tutta da scoprire." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14651.
Full textTavano, Maria Novella <1996>. "Ai lati d’Italia. Interventi e acquisti di Vittorio Viale, direttore dei Musei Civici di Torino, alla Biennale di Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/20338.
Full textOrzes, Anita <1988>. "Il Padiglione Spagnolo alla Biennale di Venezia: un’analisi critica dell'attività espositiva dal 2001 al 2013." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/5105.
Full textPepa, Paola Natalia <1985>. "Arte argentina: dall'indipendenza al contemporaneo con suggestioni europee. Quattro artisti contemporanei nella Biennale di Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/5106.
Full textShlyakhtina, Elvira <1984>. "L‘evoluzione dell‘utopia socialista nelle opere degli artisti russi nella Biennale d‘arte di Venezia (1920-1970)." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8149.
Full textDi, Paolo Stefania <1986>. ""Tutti torneranno a danzare" Il gesto di Virgilio Sieni tra arte e antropologia alla Biennale Danza di Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4527.
Full textMalizia, Sofia <1995>. "Curatorial Activism tra pratiche artistiche e riflessioni teoriche. 3x3x6, Il padiglione di Taiwan alla 58° Biennale di Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19573.
Full textFoffani, Anna <1989>. "La Finlandia alla Biennale di Venezia (1909-2015) : esposizioni nazionali e performance di mercato delle partecipazioni nel XXI secolo." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8422.
Full textGabriele, Marta <1983>. "Drammaturgia del sacro prima e dopo il padiglione della Santa Sede alla 55a Biennale di Venezia." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amsdottorato.unibo.it/7479/1/Gabriele_Marta_tesi.pdf.
Full textThe research tries to analyze the ambiguous relationship between the sacred and contemporary art in the light of recent events: the pavilion of the Holy See at the 55th and 56th Venice Biennale. Art and sacred, in the past, in their mutual dependence, revealed the essential and original dimension of man; they revealed the ritual, cultish, individual and collective condition, that responds to the primary sacredness of life. This kind of osmosis has been replaced by individual entities that no longer overlap in the secularized era. Can art express an aura of sacredness, considering the prevalence of its secular aspects? What is it that defines the sacred art? Can we talk about sacred art or secular work on sacred? Some section of the thesis concerns the negotiation of sacred symbols in contemporary art, especially in: figurative and a-figurative art; religious patronage, art and liturgy; rhetoric of the sacred quote between irony and blasphemy. Reflections open up the field of investigation and consider art as a result of the interaction between plural perspectives: historical, philosophical, anthropological and psychological. So this work attempts to analyze the role of the sacred image in contemporary era, the era of disenchantment, in the light of this renewed interest in the sacred and in the obsolete historiography of art, that tries to become history of images.
Gabriele, Marta <1983>. "Drammaturgia del sacro prima e dopo il padiglione della Santa Sede alla 55a Biennale di Venezia." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amsdottorato.unibo.it/7479/.
Full textThe research tries to analyze the ambiguous relationship between the sacred and contemporary art in the light of recent events: the pavilion of the Holy See at the 55th and 56th Venice Biennale. Art and sacred, in the past, in their mutual dependence, revealed the essential and original dimension of man; they revealed the ritual, cultish, individual and collective condition, that responds to the primary sacredness of life. This kind of osmosis has been replaced by individual entities that no longer overlap in the secularized era. Can art express an aura of sacredness, considering the prevalence of its secular aspects? What is it that defines the sacred art? Can we talk about sacred art or secular work on sacred? Some section of the thesis concerns the negotiation of sacred symbols in contemporary art, especially in: figurative and a-figurative art; religious patronage, art and liturgy; rhetoric of the sacred quote between irony and blasphemy. Reflections open up the field of investigation and consider art as a result of the interaction between plural perspectives: historical, philosophical, anthropological and psychological. So this work attempts to analyze the role of the sacred image in contemporary era, the era of disenchantment, in the light of this renewed interest in the sacred and in the obsolete historiography of art, that tries to become history of images.
Ladoucette, Laura <1993>. "Il riordino delle serie Cinema del Fondo Storico dell'Archivio Storico delle Arti Contemporanee (Biennale di Venezia)." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14141.
Full textKranitz, Judith <1992>. "Medardo Rosso alla Biennale. La corrispondenza dello scultore conservata presso l'Archivio Storico delle Arti Contemporanee di Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15065.
Full textBasilicata, Alessia <1997>. "Uno sguardo da Oltreoceano: la critica d'arte americana rispetto i primi decenni della Biennale d'arte di Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/16200.
Full textTibaldo, Davide <1990>. "Attività di sensibilizzazione dei giovani al teatro nell’asse territoriale di Venezia, Padova, Vicenza e Verona." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10403.
Full textRossi, Federica <1993>. "I «Notatori» di Pietro Gradenigo: musica e teatro nell'ambito del quotidiano a Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14277.
Full textCibin, Alberto. "I futuristi alle Esposizioni Biennali Internazionali d'Arte di Venezia (1926-1942)." Doctoral thesis, Università degli studi di Padova, 2016. http://hdl.handle.net/11577/3426760.
Full textLa ricerca indaga la storia del gruppo futurista, guidato da Filippo Tommaso Marinetti, alle Esposizioni Biennali Internazionali d’Arte di Venezia tra il 1926 e il 1942. Le partecipazioni dei futuristi in questo arco temporale fu costante e avvenne sempre in forma collettiva, tanto da contare in alcune edizioni anche più di trenta espositori. Le mostre veneziane nel corso degli anni Trenta assunsero un ruolo primario nella riforma del sistema espositivo fascista in relazione all’arte contemporanea. Tale sistema prevedeva, attraverso successivi gradi di selezione, l’accesso degli artisti dapprima a manifestazioni sindacali, provinciali e interprovinciali, poi alle Quadriennali nazionali di Roma e, infine, alle Biennali internazionali di Venezia, che avrebbero dovuto rappresentare al meglio l’arte italiana in vista del confronto con nazioni straniere. Le esposizioni veneziane sono state quindi un osservatorio privilegiato per indagare non solo le varie fasi dell’arte futurista e le reazioni della critica coeva, ma anche il complesso e talvolta conflittuale rapporto tra i seguaci di Marinetti e i vertici della Biennale, sotto l’egida forzatamente armonizzante dello Stato fascista.
Varotto, Eleonora <1992>. "Videoarte e arti performative in Spagna: il caso del padiglione spagnolo alla Biennale di Venezia dal 2001 al 2017." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/11503.
Full textCicalini, Giorgia <1991>. "Palma Bucarelli e la Biennale di Venezia (1948-68): acquisizioni, prestiti e interventi critici della Direttrice della Galleria Nazionale d'Arte Moderna di Roma." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/9773.
Full textGambardella, Annachiara <1997>. "Esposizioni internazionali d’arte. La prospettiva della Francia sulle Biennali di Venezia del secondo dopoguerra e la nascita della Biennale di Parigi nel 1959." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/18406.
Full textPacini, Andrea <1990>. "Un tessuto sociale in disgregazione: la riapertura dell'Antico Teatro Anatomico "La Vida" di Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15062.
Full textMonahan, Laurie Jean. "The new frontier goes to Venice : Robert Rauschenberg and the XXXII Venice biennale." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25472.
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Art History, Visual Art and Theory, Department of
Graduate
De, Stefano Sabina Laura <1992>. "Jeff Koons e i rapporti con l'Italia: dalla Biennale di Venezia del 1990 a "Jeff Koons in Florence" (2015-2016)." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10559.
Full textFerretti, Annachiara <1987>. "Artisti contemporanei sulle scene dell'opera lirica. Un caso di studio: "Madama Butterfly" al Teatro la Fenice di Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4859.
Full textPetracco, Claudia <1992>. "Teatro Stabile del Veneto e Teatro Stabile del Friuli-Venezia Giulia: confronto gestionale di due organizzazioni culturali a partecipazione pubblica." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16274.
Full textBertele', Matteo <1978>. "La Russia all'Esposizione internazionale d'arte di Venezia (1895-1914) : per una storia della ricezione dell'arte russa in Italia." Doctoral thesis, Università Ca' Foscari Venezia, 2011. http://hdl.handle.net/10579/1075.
Full textThis doctoral dissertation is based on the analysis of two main subjects: the Russian contribution to the International art exhibition of Venice from the very first edition, to the pre-war one and its reception by the Italian coeval critique. The Russian interest towards a continuous presence at the Exhibition was low, from the other side an Italian critic reception, often mediated by French and German institutions and shows, strongly tied up to prejudice and stereotypes of literature's derivation and influenced by preconceptions of Eurocentric matrix. This was due to the absence of a professional art critic and, also, to the spare knowledge of the Russian art, presented in Venice for the first time in Italy as "national style". Only political and diplomatic pressure brought to the construction of the Russian Pavilion, which opened in 1914, at the top of self-celebratory tzarist splendour.
Bonomi, Emilia <1995>. "Arte e Ambiente: Un binomio in evoluzione. Dalle pratiche estetiche della Biennale di Venezia del 1978 alle riflessioni ecologiche della Triennale di Milano del 2019." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/18798.
Full textBurgarello, Nadia <1992>. "Il difficile equilibrio economico e il posizionamento strategico delle fondazioni lirico-sinfoniche: il Teatro La Fenice di Venezia e il Teatro Massimo di Palermo a confronto." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19494.
Full textDI, STEFANO CHIARA. "Gli Stati Uniti alla Biennale : le strategie espositive e la diffusione dell'arte americana in Italia intorno al padiglione di Venezia 1948-1958." Doctoral thesis, Università IUAV di Venezia, 2013. http://hdl.handle.net/11578/278332.
Full textCarraro, Martina <1967>. "I Belgi e la Biennale: premesse e protagonisti del primo padiglione nazionale ai giardini (1895-1914)." Doctoral thesis, Università Ca' Foscari Venezia, 2010. http://hdl.handle.net/10579/1030.
Full textThis doctoral dissertation is about the contribution of Belgian artists to the Venice Biennale from its foundation to 1914. Two main questions were at the basis of the research: which the reasons have been why Belgium was the first country to build a national pavilion at the Giardini and what role the Pavilion had in the creating of the new polycentric exhibition system. As to the first point, the research has highlighted two fundamental issues: - Belgian art and some of its protagonists had deeply influenced the Venetian context since 1895, year of the first Biennale. - The invention of the pavilion is grounded on the will to put into practice the principle of the Synthesis of Arts. Both the Belgians and the Biennale were mostly concerned with it and eager to pursue it at least up to 1914. About the second assumption, it must be acknowledged that the making of Belgium Pavilion cannot be seen as a useful tool to understand Biennale's new deal. In its specifity, this first building represents a singular event, not at all an example to refer to.
Botte, Francesca <1994>. "Il museo teatrale per la città Due esempi e una proposta di progetto per il museo del Teatro La Fenice di Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14947.
Full textZazzeron, Mauro. "Tra la Biennale, Ca' Pesaro e la Secessione romana. Per un catalogo ragionato dei dipinti di Umberto Moggioli." Doctoral thesis, Università degli studi di Padova, 2018. http://hdl.handle.net/11577/3424968.
Full textThe paper proposes to recall, through a precise historical-critical analysis of the paintings, the entire production of Umberto Moggioli, from the beginning to his roman epilogue, within a time horizon included between 1904 and 1918. The graphic and the engraving productions were not the object of cataloging; nevertheless, it was taken into account how and to what extent the design practice has influenced the development of the subject from time to time represented. To better understand the various stages that mark the artist’s pictorial journey – its growth times and changes of course, participation in Italian (and Venetian in particular) exhibitions straddle two World Wars, the network of relationships of which he was a part of – it was fundamental, from a methodological point of view, the analysis of references and exchanges of letters promoted by him, as well as the correspondence held by the widow Anna between the Twenties and the Fifties. To this end, the documentary material kept in the private archive of the Moggioli heirs, partly merged in the Documentary Appendix, was reorganized and inventoried; an instrument of support, this last, indispensable for the examination of individual works, as it has allowed to unravel biographical crux, to rethink times and modalities of execution of some paintings – making progress or recede in time the genesis – also providing valuable information to trace back to the origins. The corpus of letters, postcards and telegrams transcribed in the Appendix frequently refer to the individual sheets, precisely to guarantee a coherent philologic framing of the paintings. A section was dedicated to paintings considered controversial under the attributional profile or stylistic identification, that is, devoid of those formal and stylistic parameters that allow to recognize with confidence the painter’s hallmark. Complete the work an introductory essay dedicated to the deepening of some specific themes: from the author’s critical fortune, starting from the figures and the exposures that have followed and investigated the stylistic evolution, to the reconsideration of the training period through the comparison of the documentation found in the Historical Archives of the Academy of Fine Arts in Venice and the letters written by the young artist to the family between october 1904 and june 1907. From the hypothesis of “environmental” reconstruction of the personal exhibitions set up at Ca’ Pesaro in 1909 and in 1912 (which binds the problem of being able to determine the physiognomy of the exhibited works), up to a brief reflection on style, technique and genres (landscape painting, portraiture, still life) most addressed by the artist during hid career.
CHICHIRICCO', EMANUELA. "Il Teatro comico all'osteria del Pellegrino di Carlo Gozzi. Introduzione, edizione critica e commento." Doctoral thesis, Università degli studi di Genova, 2015. http://hdl.handle.net/11567/1082172.
Full textTesti, Cesare. "Lo stato dell’arte della sicurezza antincendio in italia: il passaggio dall'approccio di tipo prescrittivo a quello di tipo prestazionale e le nuove prospettive per la tutela dagli incendi negli edifici di interesse storico-artistico. Un caso di studio: l'incendio del Teatro La Fenice di venezia." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/12226/.
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