Carella, Candida (Author)
The theme of ‘theater of nature’ provides an occasion for reconsidering the relationship between Giordano Bruno and nature. Not so much to theoretical investigation on first principles as to observation of natural phenomena, therefore celestial and terrestrial fenomie. In his works, Bruno never linked nature and theater, nor used the locution ‘theater of nature.’ When dealing with celestial physics, he preferred the notion of campo, one that fitted the infinite universe and infinite worlds better than the closed theater architecture. As for terrestrial physics, all the animanti are contained in the grembo, or dorso of animated earth. Bruno did not give to natural bodies, made up by constant matter and mutable forms, the same attention he gave to the skies, maybe because they were ephemeral in their eternal vicissitude. Moreover, even if the principles of magia naturalis were strongly connected with Nolana philosophy, Bruno seems to have never devoted himself to magical praxis.
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