Zaragoza, University of Zaragoza, Jul 12–16, 2027Deadline: Nov 30, 2026 The Art of Staging the Empire: Spectacle, Materiality, and the Colonial Imaginary.Panel at the 17th International Society for Eighteenth-Century Studies (ISECS) Congress 2027. How was empire made visible, tangible, and even spectacular in the eighteenth century? This panel considers the ways that performance and material

Performing Race and Racialization at European Courts c. 1500–1700  International Conference, Copenhagen, 20–21 August 2026 Read here

Special issue of the peer-reviewed journal Status Quaestionis, fully open access Read here

L’intervento ripercorre la messa in scena di pasticci al Théâtre Feydeau di Parigi negli anni Novanta del 1700. Il teatro fu inaugurato nel 1789 sotto la direzione artistica di Giambattista Viotti con l’intento di essere la sede parigina dell’opera buffa napoletana. Da Napoli non giunse solo il repertorio musicale, ma anche lo scenografo torinese Ignazio

In 1784, the Piedmontese stage designer Ignazio Degotti (1758-1824) moved to Rome, engaged to work at the Teatro Argentina. In that same year, the French painter Jacques-Louis David (1748-1825) embarked on his second Roman sojourn, with the specific purpose of painting The Oath of the Horatii. In 1790, Degotti moved to Paris. Here, among prestigious

The long 18th century experienced a transformation in the ways in which antiquity was used, exhibited, and communicated to different social classes. While the use of the past in art, music, and drama has been extensively discussed, the influence of antiquity in fashion and the performing arts, and their mutual connections, has often been neglected

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