Staging the Emotions in Giulio Camillo’s Theatre: Syncretism, Embodied Cognition and the Arts of Memory
This paper examines a long-neglected aspect of Giulio Camillo’s oeuvre: the role of the emotions and their systematic symbolisation via foot imagery in L’Idea del Theatro (1550) and De l’humana deificatione (c. 1542). A twofold hypothesis is suggested: on the one hand, Camillo’s negative associatio...
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
Universidade de Aveiro
2022-06-01
|
| Series: | Ágora |
| Subjects: | |
| Online Access: | https://proa.ua.pt/index.php/agora/article/view/29398 |
| Summary: | This paper examines a long-neglected aspect of Giulio Camillo’s oeuvre: the role of the emotions and their systematic symbolisation via foot imagery in L’Idea del Theatro (1550) and De l’humana deificatione (c. 1542). A twofold hypothesis is suggested: on the one hand, Camillo’s negative association of feet with the emotions stems from his syncretic reading of Kabbalah and Christian theology; on the other, this conceptual blending is supported by the embodied cognitive dynamics intrinsic to the arts of memory’s imagines agentes in the tradition of the Rhetorica ad Herennium.
|
|---|---|
| ISSN: | 0874-5498 2183-4334 |