The volume Teatri greci arcaici. Da Minosse a Pericle (1947) is the most complex and controversial scientific outcome of the research concerning Greek archaeology of Carlo Anti. Seventy years after its release we propose a rereading of the work under different aspects. First, its reception by the scholarly community of the time will be illustrated followed by an accurate listing of the archaeological investigations conducted since then. Thereby it will be observed how much the new excavations contributed to understand the origin of the architectural forms of the Greek theatre. The paper reveals how the difficult research path undertaken by Carlo Anti received strong critiques in the first decades, that only slowly became more positive in the following years. Especially in the last 20 years theoretical researches and practical field activities have reevaluated the main ideas of the venetian scholar and have demonstrated with great evidence its absolute worth and central significance. To shed light on the outline of the theory regarding the “Greek Archaic Theaters” the recent investigations conducted in the area of the Theater of Dionysus in Athens are of particular importance since they revealed the presence of a rectilinear wooden arrangement perfectly comparable with the one imagined without any proof by Carlo Anti in 1947.
Teatri greci arcaici. Settant’anni dopo
Bonetto J.
;Bertelli A.
2019
Abstract
The volume Teatri greci arcaici. Da Minosse a Pericle (1947) is the most complex and controversial scientific outcome of the research concerning Greek archaeology of Carlo Anti. Seventy years after its release we propose a rereading of the work under different aspects. First, its reception by the scholarly community of the time will be illustrated followed by an accurate listing of the archaeological investigations conducted since then. Thereby it will be observed how much the new excavations contributed to understand the origin of the architectural forms of the Greek theatre. The paper reveals how the difficult research path undertaken by Carlo Anti received strong critiques in the first decades, that only slowly became more positive in the following years. Especially in the last 20 years theoretical researches and practical field activities have reevaluated the main ideas of the venetian scholar and have demonstrated with great evidence its absolute worth and central significance. To shed light on the outline of the theory regarding the “Greek Archaic Theaters” the recent investigations conducted in the area of the Theater of Dionysus in Athens are of particular importance since they revealed the presence of a rectilinear wooden arrangement perfectly comparable with the one imagined without any proof by Carlo Anti in 1947.Pubblicazioni consigliate
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