Tatiana Korneeva
Tatiana Korneeva is a Research Associate at the Ca' Foscari University in Venice. She holds a Master’s degree from the Lomonosov Moscow State University and a PhD from the Scuola Normale Superiore di Pisa. Previously, she worked as a an Assistant Professor (‘Eigene Stelle’) at the Freie Universität Berlin.
Her research focuses on theatre, opera, and cultural studies in early modern and eighteenth-century Italy and Russia in comparative perspective.
She has published two monographs focusing on the relationship between Italian theatre and the public and political spheres in the early modern period (University of Toronto Press, 2019) and on Latin epic and the structural and symbolic system of Statius’ Thebaid (ETS, 2011). She has edited four collections of essays on the performing arts, the transmission of artistic practises in music and theatre, and the migrations of artists and texts across Europe (Brepols 2022; Carocci 2018; Marsilio 2019; Brill 2016). She is also the author of a digital scholarly edition and Italian translation of commedia dell'arte scenarios performed by Italian actors in St Petersburg in 1733–1735 (2021).
Her research has been supported by numerous grants for individual and team projects from various funding organisations, including the European Commission (EURIAS-MSCA COFUND Fellowship), the Fritz Thyssen Foundation, and the SPIN Programme programme of the Ca' Foscari University.
Address: Università Ca' Foscari Venezia
Dipartimento di Filosofia e Beni Culturali
Malcanton Marcorà
Dorsoduro 3484/D
30123 Venezia
Her research focuses on theatre, opera, and cultural studies in early modern and eighteenth-century Italy and Russia in comparative perspective.
She has published two monographs focusing on the relationship between Italian theatre and the public and political spheres in the early modern period (University of Toronto Press, 2019) and on Latin epic and the structural and symbolic system of Statius’ Thebaid (ETS, 2011). She has edited four collections of essays on the performing arts, the transmission of artistic practises in music and theatre, and the migrations of artists and texts across Europe (Brepols 2022; Carocci 2018; Marsilio 2019; Brill 2016). She is also the author of a digital scholarly edition and Italian translation of commedia dell'arte scenarios performed by Italian actors in St Petersburg in 1733–1735 (2021).
Her research has been supported by numerous grants for individual and team projects from various funding organisations, including the European Commission (EURIAS-MSCA COFUND Fellowship), the Fritz Thyssen Foundation, and the SPIN Programme programme of the Ca' Foscari University.
Address: Università Ca' Foscari Venezia
Dipartimento di Filosofia e Beni Culturali
Malcanton Marcorà
Dorsoduro 3484/D
30123 Venezia
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Books by Tatiana Korneeva
Le voci arcane del potere nel teatro e nell'opera, a cura di Tatiana Korneeva (Progetto Erc)
Il volume comprende saggi di Tatiana Korneeva, Elisabetta Selmi, Nicola Usula, Joachim Kupper, Piermario Vescovo, Enrico Zucchi, Bruno Capaci, Daniele Vecchiato, Martin Wahlberg
Il mio saggio ha per titolo: "Tirannia degli uomini", "tirannia del Cielo" nelle azioni sacre di Zeno, Granelli, Metastasio (Re penitenti, oracoli funesti e sacrifici inumani)
Allo straordinario successo dell’opera, tuttavia, fece seguito sin dal XIX secolo un rapido oblio, da parte sia del pubblico che della critica. In questo senso, i due versi pronunciati da Merope e scelti come titolo del convegno «Mai non mi diero i Dei / Senza un ugual disastro una ventura» sintetizzano al meglio la contrastata fortuna della tragedia maffeiana, di cui il presente volume offre una rilettura critica in occasione del terzo centenario dalla sua prima messa in scena (Modena, 1713).
Papers by Tatiana Korneeva
Le voci arcane del potere nel teatro e nell'opera, a cura di Tatiana Korneeva (Progetto Erc)
Il volume comprende saggi di Tatiana Korneeva, Elisabetta Selmi, Nicola Usula, Joachim Kupper, Piermario Vescovo, Enrico Zucchi, Bruno Capaci, Daniele Vecchiato, Martin Wahlberg
Il mio saggio ha per titolo: "Tirannia degli uomini", "tirannia del Cielo" nelle azioni sacre di Zeno, Granelli, Metastasio (Re penitenti, oracoli funesti e sacrifici inumani)
Allo straordinario successo dell’opera, tuttavia, fece seguito sin dal XIX secolo un rapido oblio, da parte sia del pubblico che della critica. In questo senso, i due versi pronunciati da Merope e scelti come titolo del convegno «Mai non mi diero i Dei / Senza un ugual disastro una ventura» sintetizzano al meglio la contrastata fortuna della tragedia maffeiana, di cui il presente volume offre una rilettura critica in occasione del terzo centenario dalla sua prima messa in scena (Modena, 1713).
Giornata di Studi internazionale a cura di Tatiana Korneeva, Freie Universität Berlin
in collaborazione con il Centro Tedesco di Studi Veneziani e con il patrocinio del Dipartimento di Filosofia e Beni Culturali, Università Ca’ Foscari Venezia
http://www.dszv.it/it/events/event/11245/
Come cambiano la rappresentazione del potere e il coinvolgimento politico del pubblico nei diversi regimi politici?
Come si trasformano le modalità allusive e metaforiche dei testi teatrali, operistici e melodrammatici quando, da strumenti della celebrazione della monarchia diventano dei veicoli dell'esaltazione patriottica risorgimentale?
Organizzazione scientifica Tatiana Korneeva, Eurias Fellow.
In collaborazione con: Freie Universitaet Berlin; Marie-Curie Actions - European Commission; Eurias - European Institutes for Advanced Study.
Accordingly, the topic of this conference are the forms, motifs, and strategies employed in pan-European historical and mythological plots (such as the Lucretia legend, the Trojan war, and the Griselda tale) in Early Modern historical drama from Giangiacomo Trissino to Jean Racine, and from Joost van den Vondel to Alexander Sumarokov. The rise of a pan-European intellectual and literary space—the respublica litteraria—enabled and promoted an intensive interaction between various spheres of artistic productivity, rendering particularly stimulating a comparative investigation of the use of the abovementioned motifs in various spheres of the intellectual and artistic cultures of the sixteenth and seventeenth centuries.
Special attention will be paid to drama, since it clarifies the relationship between the universality of literary and historical narratives and the formation of national conventions, with their different forms and languages. In this way, attention may be paid both to those works of art that are considered peripheral (according to the established history of European literature) and to hitherto unnoticed or marginalized figures of European theatre. Of particular import in this respect are the strategies of reception of literary genres and stylistic canons, the epistemological principles of historiography (such as discussions about certitudo historica, historical Pyrrhonism, the aporia of history as ‘science about contingency’), as well as the general philosophical and political foundations of the historiography of the sixteenth and seventeenth centuries in European drama.
The project explores the role of women in European operatic culture during the Enlightenment. More specifically, WoVen focuses on Venice, a hub for critical debate and a prominent operatic centre of international significance in the 18th century. WoVen seeks to uncover how opera and operatic women contributed to the ‘women question’ through their multiple activities within and around the opera world in Venice at a time of profound change for women throughout Europe.
we invite paper proposals for a panel session at the Convegno annuale dell’Associazione per gli Studi di Teoria e storia comparata della letteratura “Maschere del tragico”, Venezia, 14-16 dicembre 2016. The
panel's theme is: "Scenari di potere: immagini della sovranità e pedagogia politica nella tragedia"
In the first decades of the 18th century, Italian theatre and its artists became vital to the Russian empresses, who began to fashion their courts as theatres in which theatregoing played a central role. Countless playwrights and composers, librettists and impresarios, actors, and singers were active at the Russian court. This episode asks and answers the question of what role migrant theatre and opera professionals played in overcoming national borders and shaping a transnational musico-dramatic culture.