© 2017

Baroque, Venice, Theatre, Philosophy


Part of the Performance Philosophy book series (PPH)

Table of contents

  1. Front Matter
    Pages i-ix
  2. Will Daddario
    Pages 1-18
  3. Baroque Pastoral

  4. Discipline and Excess

    1. Front Matter
      Pages 109-109
    2. Will Daddario
      Pages 111-158
    3. Will Daddario
      Pages 203-246
  5. Back Matter
    Pages 247-261

About this book


This book theorizes the baroque as neither a time period nor an artistic style but as a collection of bodily practices developed from clashes between governmental discipline and artistic excess, moving between the dramaturgy of Jesuit spiritual exercises, the political theatre-making of Angelo Beolco (aka Ruzzante), and the civic governance of the Venetian Republic at a time of great tumult. The manuscript assembles plays seldom read or viewed by English-speaking audiences, archival materials from three Venetian archives, and several secondary sources on baroque, Renaissance, and early modern epistemology in order to forward and argument for understanding the baroque as a gathering of social practices. Such a rethinking of the baroque aims to complement the already lively studies of neo-baroque aesthetics and ethics emerging in contemporary scholarship on (for example) Latin American political art.


Jesuit theatre Baroque philosophy Baroque Venetian theatre pastoral theatre baroque pastoral garden thinking Sacred Wood of Bomarzo garden of Valsanzibio Venetian class system contemporary philosophy medieval philosophy historiography early modern history

Authors and affiliations

  1. 1.Independent ScholarAshevilleUSA

About the authors

Will Daddario is Co-Editor with Karoline Gritzner of Adorno and Performance (2014) and with Laura Cull Ó Maoilearca of Manifesto Now! Instructions for Performance, Philosophy, Politics (2013). He is the Chair of the Performance and Philosophy Working Group within Performance Studies international and a founding member of the international network Performance Philosophy.

Bibliographic information


“Baroque, Venice, Theatre, Philosophy is a clearly written, closely argued, and carefully drawn study of the Italian baroque in historical (sixteenth and seventeenth centuries), architectural, and metaphorical space and time.” (Spencer Golub, Theatre Journal, Vol. 71 (4), December, 2019)

“A worthy addition to the Jesuit theater bookshelf.” (Kevin J. Wetmore, Journal of Jesuit Studies, Vol. 5, 2018)