Picassian Meta-scenographies
A study from warburgian thought and meta-artistic reflection
DOI:
https://doi.org/10.24310/re.14.2023.16850Keywords:
Performing Arts, Avant-garde art, Visual Arts, Art theory, TheatreAbstract
Pablo Ruiz Picasso's collaboration in the theatrical world has been studied and analyzed by numerous investigations over the years. However, his contribution to the design of the set and costumes for the Ballets russes admits a new approach to Picasso's use of meta-artistic resources; that is, the use of various hybrid aspects between the performing arts and the plastic arts to actively reflect on one's own condition and artistic activity. Based on three case studies, we analyze the presence of a motif resulting from the survival or Nachleben -as formulated by Aby Warburg (1866-1929)- of certain archetypes in contemporary visual culture, such as the urban view in perspective. This scenographic prototype is characteristic of Renaissance scenography, but it also appears as a background in some paintings of the period, doubling the pictorial planes, playing with the effect of depth and the observer's gaze. A practice that this has been called meta-scenography. In Picasso, we find this archetype in the backdrop of Parade (1916-1917), in Pulcinella (1919) and in Cuadro Flamenco (1920), which leads us to rethink Picasso's theatrical production as a kind of meta-scenography, as dialectical and surviving images of a scenographic and meta-artistic tradition.
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