From ‘seeing’ to ‘feeling’. Monastic roots of the ‘Theatre of Mercy’ (IX-XI sec.)
Carla Maria Bino
Recently, theatre studies have focused on the relathionships between dramatic action and both rhetorical mechanisms of writing reading - based locational memory’s techniques construction mental or artistic images. This article aims to demonstrate that in monastic circles, throught ninth eleventh centuries, there is a deep change memoria’s device for visualizing Passion Christ. It characterizes silent, daily prayer public rites Good Friday, especially adoratio Crucis’ cerimonies. I will describe this using three textual exemples prayers Cross: we shall see when point view changes, at same time structure system; addition, emotional response from beholder also changes. From Peter Damian Anselm seems be process moves an ostensive intention Christ’s body (quite ‘seeing’ broken body, covered with blood injuries) affective sense Passion’s event ‘feeling’ ‘sharing’ pain those wounds). The analysis would try highlight how represents historical foundation ‘theater mercy’, so important late Middle Age.
Hortus artium medievalium|Hrčak Portal of scientific journals of Croatia (University Computing Centre)