Letteratura varia - Roma - LIBRERIA CESARETTI AL COLLEGIO ROMANO

Of the premeditated and impromptu representative art, two parts. Useful not only for those who delight in representing; but also for preachers, orators, academics, and the curious by Dr. Andrea Perrucci.

In Naples, in the new printing by Michele Luigi Mutio, 1699.

1 volume in 12°, Pp.[12], 394, [2]

Author: RENATO ROVETTA

Contemporary parchment binding with missing parts on the spine and loose, interior with humidity stains especially on the first pages, MISSING THE FRONTIER

Extremely rare.

The treatise “On Representative Art, Premeditated and Suddenly” is the author’s most important work: it is the fruit of his reflections on representative art. The treatise (dedicated to a Neapolitan noblewoman) presents the rules of the trade and analyses, in an abstract and theoretical manner, the craft of professional art and all the tools useful to the profession. It is an organised exposition of rules and ennobles professional art. The frontispiece guarantees the high quality of the editorial and cultural operation by addressing members of the nobility. In the preface he rejects the condemnation of infamy that has weighed down since ancient times. He says that comedy has returned to the ancient transgression for which actresses are lascivious and drag the audience into sin; actors make use of misunderstandings and impure acts (the condemnations of the church were well-founded). He concludes by stating that theatre has fallen into the immorality of the history of the Roman Empire. He then continues by defending virtuous actors. Therefore, according to Perrucci, theatre is an art worthy of glory; those who practise it exclusively for the purpose of gain should be punished. The treatise is divided into 2 parts: FIRST PART: defends the representative art in the era in which Perrucci lived (last years of the 17th century). In those years: distinction between high culture theatre (prose); mercenary comedy performed by actors who were only interested in profit and in capturing the audience by lowering the artistic thresholds of the profession, preferring the lowest techniques such as eroticism and transgression (this is why the church attacks the theatre). With respect to this situation, Perrucci seems to want to safeguard the theatre in general and praises the virtuous interpreters of professionalism. In this part of the treatise, Perrucci follows a canonical criterion of argumentation and begins with the explanation of what the representative art is: everything that places an entire action before the eyes of the spectator and does so through imitation with historical action or invention, with singing, with speech (prose), with premeditated action or with action suddenly. The memory technique makes the actor's figure more important, as he has no margin for inventiveness (premeditated art) and therefore has less margin for asserting himself because he must stick to the author's text. For the impromptu parts, however, the author must lay out a scenario, while the words are invented by the actors who become authors of their own part. SECOND PART: the art of impromptu is discussed. In the preface (theoretical guidelines) he highlights that the art of acting impromptu was invented in modern times and is a peculiarity of Italian actors, who are able to "concert" (rehearse) in a short time. Actors do not learn by heart because each actor already has what he needs in his memory. Perrucci insists on two elements: - impromptu does not simplify the actor's activity as they must be able to improvise, therefore an initial selection is made to understand who is ready to respond on stage.

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