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Between Ordine and Capriccio: Gothic Architecture in the Theatre of the Enlightenment

机译：常常和Capriccio之间：在启蒙剧院的哥特式建筑

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摘要

The perception and rethinking of the "dark Middle Ages" in the period of Enlightenment largely determined the interpretation of the present, and expectations for the future. That was why the appearance of Gothic images and motifs on the theatre stage was not just another phase in the history of art and architecture or a fad for the "Gothic taste", but also a factor of political propaganda geared to public opinion and domestic and foreign policies. What did the 18th-century theatre-goers and stage decorators perceive as "Gothic"? How did the "settings", iconographic tradition and predilections of European playwrights and librettists change over the Age of Enlightenment? The article looks at these and other nuances of Gothic motifs' invasion of the ephemeral architecture of the theatre stage. The grand staging of Catherine the Great's historical play The Early Reign of Oleg, in which action takes place in the "Gothic Antiquity" of the Russian state, is a special theme that graphically demonstrates the political underpinnings of recourse to the national "Gothic". A search for the iconographical prototypes of the theatre images turns out to be no less captivating than the ideologically charged reconstruction of historical memory.
机译：感知和启蒙时期“黑暗的中世纪”的重新思考很大程度上决定本的未来的解释和期望。这就是为什么哥特式的图像和图案对戏剧舞台的外观是不是在艺术和建筑或为“哥特味”是一种时尚的历史只是一个阶段，也是政治宣传的因素面向公众舆论和国内外交政策。什么18世纪的戏剧观众和舞台装饰所认为的“哥特式”？ “设置”，肖像传统和欧洲的剧作家和librettists的偏好是如何改变了启蒙时代？在本文着眼于这些和哥特式主题戏剧舞台的临时建筑的入侵其他细微差别。奥列格·叶卡捷琳娜大帝的历史剧中的统治初期，在行动发生在俄罗斯政府的“哥特式古”，盛大分期是一个特殊的主题，图示说明求助于国家“哥特式”的政治基础。一种用于影院图像的图像学原型搜索结果是不小于的历史存储器中的思想上带电重建迷人。

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