Il Castello di Elsinore (E-Journal)
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The actor and the character in German acting, from Schröder's realism to Kainz's impressionism
Full text linkAcrobati sul filo dell’esistenza: l’attore britannico tra ingaggi, retribuzioni e istituzioni previdenziali (1800-1870)
Full text linkIl saggio di Paola Degli Esposti analizza le condizioni di ingaggio degli attori inglesi tra il 1800 e il 1870, i loro salari e le istituzioni che li sostengono economicamente. Vengono messe in rilievo le retribuzioni e le ingenti spese affrontate dagli artisti della scena, in un contesto di precarietà nel quale i salari risultano spesso irregolari e incerti anche in virtù dei rapporti di forza all'interno della compagnia, che vedono gli interpreti spesso soggetti allo strapotere dell'impresario. Si prendono in considerazione, infine, gli strumenti che gli attori adottano per cercare di compensare l'incertezza economica, in particolare l'istituto della beneficiata e le istituzioni previdenziali e assistenziali.Paola Degli Esposti’s essay investigates some aspects of the acting profession in Great Britain from 1800 to 1870, and specifically contractual terms, salaries and institutions providing performers with financial aid. The precariousness of actors’ salaries and the taxing conditions of contracts stand out as common features of the period. Their income and the large expenses they incur into are considered in a context in which salaries appear as uncertain and irregular, a condition to which the great power wielded by managers contributes significantly. The tools performers employ to compensate for such financial precariousness are also investigated, with particular reference to the British benefit system and the institutions providing assistance to actors in need
Tipologie femminili nella Commedia dell’Arte
Full text linkThe presence of the female characters is the main feature of the professional theatre during the 16th and 17th centuries. Some of the actress built their fame through the uninhibited use of their body, some others through literature and painting.The presence of the female characters is the main feature of the professional theatre during the 16th and 17th centuries. Some of the actress built their fame through the uninhibited use of their body, some others through literature and painting
La scena inglese del terzo millennio: un teatro in cerca di autori
Full text linkThis article deals with the new productions put on in Britain during the first decade of the XXI century. There were some 3000 new plays staged in the first ten yeras of the new millenium. Their main themes were the war in Iraq (and the Anglo-American “Special Relationship”) and the new ideas about race conflict and multiple identities. But also the banking collapse in USA and its relevance to British economy. Special attention is given to the plays by the “old” authors, David Hare, Caryl Churchill, Mark Ravenhill, and by some of the “new” ones, such as Lucy Prebble and Tanika Gupta. In the last sixty years British theatre has been a playwrights’ theatre. Will it still be in the next decade?This article deals with the new productions put on in Britain during the first decade of the XXI century. There were some 3000 new plays staged in the first ten yeras of the new millenium. Their main themes were the war in Iraq (and the Anglo-American “Special Relationship”) and the new ideas about race conflict and multiple identities. But also the banking collapse in USA and its relevance to British economy. Special attention is given to the plays by the “old” authors, David Hare, Caryl Churchill, Mark Ravenhill, and by some of the “new” ones, such as Lucy Prebble and Tanika Gupta. In the last sixty years British theatre has been a playwrights’ theatre. Will it still be in the next decade
Roberto Tessari, un Maestro di una Università di una volta
Full text linkRoberto Alonge remembers a pupil of a great Italianist Giovanni Getto, Roberto Tessari, who became one of the founding fathers of the History of Theatre discipline, one of the world’s leading specialists in the Commedia dell’Arte, but capable of dominating multiple sectors of theatrical culture (from Greek dramaturgy to that of the eighteenth century, from that of the twentieth century to the problems of anthropological theatre). Alonge draws the portrait of a discreet and reserved scholar to whom the Italian University – always not very attentive to the quality and originality of its studies – has little generously recognized merits and honours.Nel suo necrologio Roberto Alonge ricorda un allievo di un grande italianista, Giovanni Getto, quale è stato Roberto Tessari, uno dei padri fondatori della disciplina accademica chiamata Storia del Teatro, e uno dei maggiori specialisti mondiali della Commedia dell’Arte. Uno studioso peraltro ben capace di signoreggiare moltplici settori della cultura teatrale (dalla drammaturgia dei classici greci a quella del Settecento, dalle Avanguardie del Novecento ai problemi di antropologia teatrale). Alonge disegna il ritratto di uno studioso discreto e riservato che l’Università italiana – sempre poco attenta alla qualità e alla originalità degli studi – non ha saputo riconoscere e valorizzare come i suoi meriti avrebbero richiesto.