Il Castello di Elsinore (E-Journal)
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Un inquietante mito maschilista. Note in margine ad alcuni allestimenti de "Il costruttore Solness" di Ibsen
Full text linkRoberto Alonge takes his cue from three editions of The Master Builder by Ibsen (Beppe Navello’s 1999 show, that of 2018 at the Teatro Vertigo in Livorno, the 2019 show by Umberto Orsini) for a long reflection on a disturbing text by the Norwegian playwright. In fact Ibsen is the singer of women’s rights, as evidenced by his famous text A Doll’s House, but the Hilde of The Master Builder reveals the murky psychology of a woman who dreams of being kidnapped and taken by force from the man who abused her when she was a 12-13 year old girl. In conclusion Alonge shares the opinion of Jon Fosse, according to which Ibsen is “the blackest and most demonic author one can meet”.Roberto Alonge esamina tre edizioni de Il costruttore Solness di Ibsen (lo spettacolo del 1999 di Beppe Navello, quello del 2018 del Teatro Vertigo in Livorno, e quello del 2019 di Umberto Orsini), prendendone spunto per una lunga riflessione su un testo perturbante del drammaturgo norvegese. In effetti Ibsen è, sì, il cantore dei diritti della donna, come risulta dal suo famoso testo Una casa di bambola, ma la Hilde de Il costruttore Solness mette in luce la psicologia torbida di una donna che sogna di essere rapita e presa con la forza dall’’uomo che abusò di lei quando era una bambina di 12-13 anni. In conclusione Alonge condivide l’opinione di Jon Fosse, che definisce Ibsen «l’autore più nero e più demoniaco che abbia mai incontrato»
«Anni di teatrologia sotto pressione». Per una storia della rifondazione degli studi italiani di spettacolo
Full text linkThe paper analyses the deep renewal occurred in Italian Theatre Studies between the ’60s and the mid-’80s that allowed the establishment of a new academic discipline, focusing in particular on the modification of its object of study: from drama to performance, and then to theatre conceived as a complex set of socio-cultural processes. The phenomenon is investigated also connecting it on the one hand with the transformations of both contemporary performing arts and humanities, and on the other hand with its historical “precedents”. In this way the creation of Italian Theatre Studies emerges as a process of refoundation of the field, that furthermore seems to has continued also in the following decades and whose imprinting is maybe one of the strongest legacy of our tradition of study.Il saggio analizza il profondo rinnovamento occorso negli studi teatrali italiani fra gli anni Sessanta e la metà degli Ottanta che accompagna l'ingresso della nuova disciplina nell'università, focalizzando in particolare le mutazioni che coinvolgono l'oggetto del campo di studio: dal testo allo spettacolo e, di qui, a una concezione più ampia e complessa del teatro come insieme di processi di natura socio-culturale. Il fenomeno è indagato, da un lato, alla luce di quelli che si possono considerare i “precedenti” storiografici della materia e, dall'altro, in rapporto alle trasformazioni che nello stesso periodo coinvolgono sia le arti performative, sia le nuove o rinnovate scienze umane e sociali. In quest'ottica, la strutturazione accademica della disciplina si manifesta nei termini di un processo di rifondazione del campo di studio, che pare svilupparsi anche nei decenni successivi e il cui imprinting è presumibilmente una delle eredità più forti della nostra tradizione disciplinare
Carmelo Bene al Centro Produzione Rai di Torino. il caso dell’"Otello"
Full text linkIn 1979 Carmelo Bene worked at the Rai Center in Turin for the production of an Otello taken from his homonymous theater show. The meeting-clash of Bene with the television media was very interesting: it revealed his extraordinary knowledge of the shooting technique but also his willingness to overcome it by experimenting with new languages. It also confirmed the magical power of player of Carmelo Bene who wanted to change the television studio into a real theater. The testimony is by Sergio Ariotti, then young Rai director
La stagione di Carmelo Bene al Beat 72 (1966-1967): l’inciampo come metodo
Full text linkFrom December 1966 to June 1967 Carmelo Bene performed at Beat 72 in Rome. Nostra Signora dei Turchi, Amleto o le conseguenze della pietà filiale, Salvatore Giuliano, Salomè, represent an important field of investigation from several points of view: as a synthesis of Bene’s artistic career before his temporary detachment from the stage; as a new experiment of permanence in a space to inhabit (and transform), going beyond the single show; as a preamble for the “Nuovo Teatro” conference that will be held in Ivrea shortly thereafter; as an opportunity for a critical debate; as a focus on one of the liveliest Roman “cantina” in its beginnings
«Convenevoli del quotidiano fatti preghiere». Attore e santo secondo Carmelo Bene
Full text linkIn the first part of the novel Nostra Signora dei Turchi (1964), Carmelo Bene insists on the confrontation between the actor’s art and the condition of sanctity, focusing in particular on the paradoxical misunderstandings that could arise from an erroneous evaluation of certain apparent similarities between the two realities. The elements that seem to homologate actor and saint are: ritualism (common to both training and ascesis), and the tension towards overcoming the operational logic of rational self-consciousness. In Carmelo Bene’s vision, however, it is not a matter of confusing both an actor and a saint, but of envisaging a different concept of scenic artifex and a different concept of “sanctity”: both based on overcoming the rules that encode the actor as an interpreter and the saint as a useful pawn of the ecclesiastical machine
Il Gran Varietà televisivo di Carmelo
Full text linkIn his television stagings Carmelo Bene shows that he is fully aware of the specific nature of the electronic medium, through which technical and linguistic tools he leads the destructuring of the text and the study of the phoné and subverts the standardized rules of television prose programs. When he intervenes as a guest on television programs of all kinds – even in the most banal and vulgar – Bene “is at the game”, imposes his his- trionic presence and gives life to a Great Variety in which he highlights the irreducible contrast between the reality of his poetry and the unreality of the “imbecile” tv
Ascesa e rovina di don Geronimo Fonati, buffone spagnolo al servizio dei Gonzaga
Full text linkThe article traces vicissitudes and journeys, which involve the Spanish jester Don Geronimo Fonati through several sovereign states of the Italian peninsula, the southern Netherlands, France and Spain in a chronological arc of almost thirty years; a period in which he is officially at the service of the Gonzagas family and Duke Vincenzo I in particular. A foul-mouthed entertainer and an impenitent gambler, don Geronimo was made sign of a certain credit in the major courts of Europe because of his privileged relation with the lords of Mantua until his sudden fall into disgrace, imprisonment and final set- aside
Nuovi innesti per "L’innesto"
Full text linkIvan Pupo reviews the edition of Pirandello’s L’innesto edited by Roberto Gigliucci. The very stimulating reading of Gigliucci focuses on the presence of Darwinian suggestions and on the elements of sacred parody in the Pirandellian pièce. The philological work is interesting and innovative: Gigliucci chooses to publish a text different from the vulgate
Luci sullo spettacolo di corte tra i mari del Nord: Anna di Danimarca da Copenaghen al trono di Scozia (1574-1590)
Full text linkThe essay is part of a research project that aims to extend to the Nordic dynasties the historiographic acquisitions achieved in the study of the spectacle in the European court. Anna of Oldenburg, daughter of King Frederick II of Denmark and Norway, and sister of Christian IV, received since childhood a princely education that made her one of the most appealing candidates in the swirling circle of dynastic marriages. Before becoming, at the age of fourteen, engaged and then married to James VI Stuart, next Queen of Scotland and England, she had the chance to verify the political value of ceremonies in a refined renaissance court. The cultural substratum, feeded by the attentive education received in particular by her mother Sofia of Mecklenburg-Gustrow and supported by the presence of many spectacular-dynastic events, made Anna perfectly capable of creating a syncretic court once she rose to the throne. The research at the base of this study represents the first piece of a wider investigation that aims to highlight the queen’s role as a patron-sovereign, until now better known as the founder of the Jacobean masque
Un carteggio di Eligio Possenti (1960-1966)
Full text linkThis essay considers the unpublished correspondence between two important Italian theatrical critics, Eligio Possenti and Lucio Ridenti, editor of “Il Dramma”. The background is the Italian theatre of the first half of the Sixties. Possenti and Ridenti discuss the debated achievement of directing in Italy and the clash between public theatres, academy actors and lasting traditional concepts of dramaturgy and acting