Le scene che cadono dall’alto. Ingegno e illusione nel Teatro dei SS. Giovanni e Paolo a Venezia

The essay explores the intricate chronology of the Grima-ni Theatre, proposing a potential reconstruction of the architec-tural space and scenic devices employed. By analysing archival documents and tracing the intricate historical events of one of the most powerful Venetian families, it is possible to gain insight into the circumstances surrounding the erection of the theatre in 1638. From a modest wooden room, an imposing structure in stone was constructed, which boasted the distinction of be-ing considered the most beautiful and comfortable theatre in the city. The written sources provide valuable insights into the evolution of the hall, initially describing an elliptical structure with rows of seven overlapping loggias. Subsequently, they doc-ument a significant redesign, which involved reducing the over-all height of the facility and modifying the plan.
The underlying concept remained consistent, encompass-ing grand scenes with sophisticated machinery that enabled sudden plot twists and special effects.
The text presents a detailed account of the study, analysis and redesign of the two main configurations. It advances an in-terpretation of the second layout, derived from a survey of the artefact conducted between 1691 and 1693, through the use of a 3D clone. Although there is evidence of a gradual abandonment of sliding mechanisms in the understage from the late 1600s onwards, the Grimani Theatre provides an example of the evo-lution and metamorphosis of a theatrical scenario that can be partially reconstructed and hypothesised through digital tools aimed at preserving a lost memory.