Salvatore Viganò’s “Prometeo”: «The very great resource of all the managers»

Stefania Onesti

doi:10.53235/2036-5624/24

Authors

Stefania Onesti University of Padua https://orcid.org/0000-0003-2473-6170

Stefania Onesti, Ph.D. Dr. teaches “Methodology of Theatre and Entertainment” at the University of Padua. In 2020 she held the Italian National Scientific Qualification for the role of Associate Professor of History of Theatre (L-ART/05). She is a member of the editorial board of the journal Danza e ricerca. She is author of Di passi, di storie e di passioni. Teorie e pratiche del ballo teatrale nel secondo Settecento italiano and she edited the book I passi della danza. Indagini sulla creazione coreica. She also wrote several articles on Eighteenth Century pantomime ballet and its leading choreographer. For the Dizionario Biografico degli Italiani she edited the entry on the Viganò family, while on Salvatore Viganò and the choreodrama she recently published the article «Coreografico lavoro» e «tragici affetti». Sulla Vestale di Salvatore Viganò.

DOI:

https://doi.org/10.53235/2036-5624/24

Keywords:

Salvatore Viganò, Prometeo, Italian theatre, coreodramma

Abstract

The essay investigates the relationship between theatre and dance in the early Nineteenth-Century through the analysis of the various staging of the Prometheus starting from the dance version set up and choreographed by Salvatore Viganò at the Scala in Milan in the spring of 1813. In the aftermath of the success of the ballet, transpositions into verse and pantomime of the same subject are produced. These versions, openly inspired by the Viganovian one, remain on the scene much longer than the exclusively danced ones, touring among the Italian companies and becoming a source of sure success, and profit, for the comedians.

Salvatore Viganò’s “Prometeo”: «The very great resource of all the managers»

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