Keywords:
Leonardo da Vinci, Angelo Poliziano, Charles d'Amboise, set designer, complex scenography, iconic ensemble, stage space, stage machinery, stage plastic, space-time type of perception of the playing space, Leonardo's drawings
To cite this article
Lobodanov A.P.
Leonardo da Vinci is a Set Designer (part four: «La Fabula di Orfeo»). // Theory and History of Art.
2023.
N 1/2,
p.10–38
The article continues the study of the little-known phenomenon of Leonardo da Vinci's creativity — his innovative works in the field of scenography. In the fourth part, Leonardo's handwritten and iconographic materials for the proposed Milan production of «La Fabula di Orfeo» on the text of the pastoral drama by A. Poliziano are analyzed in historical, textual and art criticism aspects. The author turns to the analysis of Leonardo's drawings, fragments of his notebooks related to the development of stage space, stage mechanisms and stage plasticity of this possible production.
The author is based on the methodology of complex textual, iconographic and art criticism analysis, which makes it possible to show more deeply the historical significance and place of Leonardo da Vinci's scenographic works in the culture of the High Renaissance, in the formation and development of complex scenography as an iconic ensemble.
The author comes to the conclusion that the scenography of «Orfeo» is a key stage in the evolution of Leonardo's scenographic thinking. The constructive organization of the game space, embodied in the production of «Orfeo», transformed not only all the previous types of constructive and decorative design of the playground — aggregate and simultaneous, but also foreshadowed a new path of development of European scenography — the spatial and temporal perception of theatrical performance.
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