Il Castello di Elsinore (E-Journal)
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From "Libation Bearers" to the Delphiads. Gianfranco de Bosio and the University Theatre of Padua
No full textThe experience of the University Theatre of Padua, directed by Gianfranco de Bosio, began in 1946 and ended in 1953. The shows that mark, respectively, beginning and end are: Aeschylus’ Libation Bearers and A Man is a Man by Bertolt Brecht. The University Theatre of Padua participates with the Agamemnon in the Delphiads (Verona, 1952), an International Festival of University Theatre freely inspired by the theatrical project of Sikelianòs. The show is presented at the First International Festival of University Theatre of Parma two months after the debut of A Man is a Man. The essay examines the highlights of the Padua Theatre and the Delphiads experience, highlighting a continuity in the staging of Aeschylus’ two texts: Libation Bearers and Agamemnon
Il "Sogno d’un tramonto d’autunno": la «decadenza» e il fuoco
Full text linkThe essay connects the one-act play with Il fuoco, born in the same years, pointing out both theme consonances and differences: in the first place, the absence in the play of the superhumanly ideologization of decadence as an urge to the infinite strenghtening of heroic energies and to the artistic creation, which are the core of the novel. At the same time, fire, which in the novel is the symbol of the superhumanly tension of the hero, in the pièce is only the projection of destructive drives of the main character, Gradeniga, against her “double”, the young rival. The cause of these differences can be seen in the fact that the novel, which has a more complex structure, is supposed to carry out the proposal of the superhumanly message, whereas the one-act play is given a minor rensponsibility, and consequently is free from ideological juxtapositions.The essay connects the one-act play with Il fuoco, born in the same years, pointing out both theme consonances and differences: in the first place, the absence in the play of the superhumanly ideologization of decadence as an urge to the infinite strenghtening of heroic energies and to the artistic creation, which are the core of the novel. At the same time, fire, which in the novel is the symbol of the superhumanly tension of the hero, in the pièce is only the projection of destructive drives of the main character, Gradeniga, against her “double”, the young rival. The cause of these differences can be seen in the fact that the novel, which has a more complex structure, is supposed to carry out the proposal of the superhumanly message, whereas the one-act play is given a minor rensponsibility, and consequently is free from ideological juxtapositions
Tra testo e rappresentazione: note per un’edizione critica del gozziano "Re cervo"
Full text linkIn 2003, the Swiss scholar Fabio Soldini discovered a big amount of unknown manuscripts, mostly unpublished, by Gasparo and Carlo Gozzi: for such reason I felt the urgency to prepare a new critical edition of Re cervo, since previous one, brought out by me several years ago, had been necessarily based only on the witnesses at that time known. Through the comparative analysis of all the manuscripts now available, I was able to go back up to the script probably used by Antonio Sacchi for the 1762’s performance and to some of the previous drafts of the scenic tale. I was also able to document the different writing’s modalities of the dramatist directly working for the stage and the one of the man of letters revising his own text for the printing.In 2003, the Swiss scholar Fabio Soldini discovered a big amount of unknown manuscripts, mostly unpublished, by Gasparo and Carlo Gozzi: for such reason I felt the urgency to prepare a new critical edition of Re cervo, since previous one, brought out by me several years ago, had been necessarily based only on the witnesses at that time known. Through the comparative analysis of all the manuscripts now available, I was able to go back up to the script probably used by Antonio Sacchi for the 1762’s performance and to some of the previous drafts of the scenic tale. I was also able to document the different writing’s modalities of the dramatist directly working for the stage and the one of the man of letters revising his own text for the printing
Helene Raff e Henrik Ibsen
Full text linkThis biographical essay, starting from the recent publication of two books by Helene Raff, Joachim Raff: Portrait of a Life (1925) and Leaves from life’s Tree (1938), clarifies the very hidden affair between the young painter Helene Raff and the aged Henrik Ibsen, who regarded her as “youth personified”. The essay is an attempt to detect all the psychological implications of this relationship from an aesthetic viewpoint, hypothesizing that some traits of the character of the musician Joachim Raff, Helene’s father, may have passed into the figure of Solness, the master builder.This biographical essay, starting from the recent publication of two books by Helene Raff, Joachim Raff: Portrait of a Life (1925) and Leaves from life’s Tree (1938), clarifies the very hidden affair between the young painter Helene Raff and the aged Henrik Ibsen, who regarded her as “youth personified”. The essay is an attempt to detect all the psychological implications of this relationship from an aesthetic viewpoint, hypothesizing that some traits of the character of the musician Joachim Raff, Helene’s father, may have passed into the figure of Solness, the master builder
«Ce vieillard m’a maudit! – Quel vecchio maledivami!». Verdi e Piave per Hugo (con un saggio di traduzione)
Full text linkThrough a comparative analysis of Le Roi s’amuse (1832), by Victor Hugo, and Rigoletto (1851), by Giuseppe Verdi and Francesco Maria Piave, this essay takes into consideration the artistic relations between “romantic drama” and “melodrama”, paying also attention to the national function exerted by the work of Verdi and Hugo. Whereas Le Roi s’amuse is read with renewed interest (a translation sample of rhymed verses is provided, too), Piave’s libretto is read to explore its inner “faith” in drame and in that grotesque which keeps playing a pivotal role in Hugo’s poetics. Through a comparative analysis of Le Roi s’amuse (1832), by Victor Hugo, and Rigoletto (1851), by Giuseppe Verdi and Francesco Maria Piave, this essay takes into consideration the artistic relations between “romantic drama” and “melodrama”, paying also attention to the national function exerted by the work of Verdi and Hugo. Whereas Le Roi s’amuse is read with renewed interest (a translation sample of rhymed verses is provided, too), Piave’s libretto is read to explore its inner “faith” in drame and in that grotesque which keeps playing a pivotal role in Hugo’s poetics. 
"Moschetta", ultimo atto
Full text linkThe recent and excellent edition of the most famous Ruzante’s comedy, curated by Luca D’Onghia, offers, among other things, a text restored and free of dense didactic remark with which it was always read to analyze it or to stage, since the sixties of last century and since the edition of Ludovico Zorzi. Written for four hands, the present work moves in two directions: on the one hand it reconstructs the history of this didactic interpolation, bearer not only of interpretation but of a real rewrite and secondly it wants to return to original text, coming to propose a conclusion of the play completely different from what was supposed to be and from what was view on stage.The recent and excellent edition of the most famous Ruzante’s comedy, curated by Luca D’Onghia, offers, among other things, a text restored and free of dense didactic remark with which it was always read to analyze it or to stage, since the sixties of last century and since the edition of Ludovico Zorzi. Written for four hands, the present work moves in two directions: on the one hand it reconstructs the history of this didactic interpolation, bearer not only of interpretation but of a real rewrite and secondly it wants to return to original text, coming to propose a conclusion of the play completely different from what was supposed to be and from what was view on stage
Of Flowers and Weeds. Veering Towards Comedy in Benjamin Victor’s Adaptation of 'The Two Gentlemen of Verona' (1762)
Full text linkNo record of performance of The Two Gentlemen of Verona during Shakespeare’s lifetime exists and the play was apparently ignored by Restoration playwrights too; its first known staging is Benjamin Victor’s adaptation, which premiered at Drury Lane Theatre in 1762. Victor presented the play as Shakespeare’s, although announcing the introduction of a few «alterations and additions». These were meant primarily at straightening out the plot and at polishing up the script. Nevertheless, the «addition» of a few lines and short scenes throughout the play and some limited, but significant excisions, including Valentine’s (in)famous offer of his fiancée to his friend, produce a rather momentous swerve of the play’s conceptual route towards a more decidedly comedic track. Indeed, Victor’s adaptation appears to match perfectly Northrop Frye’s inclusion of The Two Gentlemen into the «drama of the green world» category, in which the «green world», typically a forest, is where conflicts are resolved and characters undergo some kind of metamorphosis, which bears in Victor an interestingly original and historically suggestive capacity
Il potere dello sguardo, lo sguardo del potere
Full text linkThe article briefly focuses on a topic like the power of the gaze and on the kind of domination it is able to create. To heighten this relation we will refer to different works and different periods in the history of theatre. We will analyze such a theme in Ibsen’s Casa di bambola, Pirandello’s Così è (se vi pare), as well as in some medieval texts (for instance the extraordinary XIII century text La visione di Thurkill) and in the spatial structure of the “teatro all’italiana”. The same topic is also detectable in Kleist’s striking essay on puppet theatre, and – at another level – in Wedekind’s Lulu, where the complexity of the gazes’ system works like a tool for domination and the “reversal of the gaze” mechan- ism emphasizes the new power relations.The article briefly focuses on a topic like the power of the gaze and on the kind of domination it is able to create. To heighten this relation we will refer to different works and different periods in the history of theatre. We will analyze such a theme in Ibsen’s Casa di bambola, Pirandello’s Così è (se vi pare), as well as in some medieval texts (for instance the extraordinary XIII century text La visione di Thurkill) and in the spatial structure of the “teatro all’italiana”. The same topic is also detectable in Kleist’s striking essay on puppet theatre, and – at another level – in Wedekind’s Lulu, where the complexity of the gazes’ system works like a tool for domination and the “reversal of the gaze” mechan- ism emphasizes the new power relations