Il Castello di Elsinore (E-Journal)
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Per un’ipotesi di edizione critica dello spettacolo di danza a partire dalle partiture coreografiche di Hanya Holm e di City Nocturne
Full text linkThere are no models of a critical edition of the dance performance, nor manuals of philology that address the problems inherent in their fulfillment, contrary to what is observed in literature or music. Consequently, every time that one wants to reperform a play of the past that has no video-records and that has not already been reconstructed according to philological intentions, studies must start from scratch, or nearly so. Margherita Pirotto offers here a first experiment of a possible model, taking City Nocturne by Hanya Holm (1936) as a sample, which will hopefully serve to set up a more articulated and elastic structure of a critical edition of the dance performance in the future
Da Venezia a Vienna: 450 miglia fra Goldoni e Mozart
Full text linkIn 1764 Goldoni wrote his libretto of La finta semplice which was setted by Salvatore Perillo, a Neapolitan musician, for the Venetian theatre in San Moisè. Meanwhile the young Mozart, teenager, wrote a new score for La finta semplice in 1768, that was further revised by Marco Coltellini and represented in Salzburg the next year. In 1784 Wolfgang composed the variations K 460 on Come un agnello from Le nozze by Goldoni and Sarti, quoting the aria’s incipit in the last ensemble of Don Giovanni
Quasi per caso un anarchico. Dario Fo fra Arlecchino e avanguardia
Full text linkBent Holm’s paper analyzes a famous work by Dario Fo, Accidental Death of an Anarchist, which was staged in 1970. The play deals with an event that actually happened the previous year: Pino Pinelli’s death while he was in custody at the police headquarters in Milan. One of Holm’s fundamental contentions is that Fo’s political denunciation is not sufficient to explain the success of the performance. Rather, it must be sought at deeper levels than strictly ideological ones
Famiglie di cantanti e compagnie di opera buffa negli anni di Goldoni
Full text linkOpera buffa started during the 1740s as a structural extension of the comic intermezzo tradition of the preceding decades, from which it inherited the production system based on long lasting troupes of male and female singers. They often married and their children sometimes later joined their parents’ activity and company. This net of parental relations among buffo singers had important consequences, since singing and acting styles were passed down from parents to children from the era of Pergolesi to that of Mozart and beyond. This production efficiency favoured ample dissemination of the buffo repertoire but also produced resistance to stylistic changes which caused the extinction of the opera buffa tradition during the first half the 19th Century
Ruggeri e Amleto, fra teatro e cinema (1915-1917)
Full text linkThe essay examines the relationship between Ruggero Ruggeri and Hamlet. During the years of the First World War, in the period of his full artistic maturity, Ruggeri created a theatrical edition of the Shakespearean text (1915) and then a film (1917). The analysis of the two moments makes it possible to focus on some characteristics of Ruggeri’s artistic career and to highlight the “foundational” character of this period in the history of Italian theatre
Lavia-Borkman. un Ibsen felicemente comico
Full text linkThe director, Marco Sciaccaluga, sets Ibsenian play in our day. The characters are on first-name terms among them. Gunhild smokes and drinks to express her state of depression. Dialogue is rewritten with colloquial cadences, not without obscene words. In conlusion, a production which wants to propose again the way of working of Ostermeier, but without the genius of the German director. However, it should be recognized that Gabriele Lavia’s performance helps us to discover the ironic, desecrating dimension of Ibsenian dramaturgy. In fact Ibsen is not a serious and also a bit boring writer, as critics usually think. The audience continually laughs at the lines of Lavia, who sometimes forces the text, but more often limits himself to extracting from the text what is entirely the Ibsenian intention. Naturally, Ibsenian comic quality is only the expression of a merciless and cruel intelligence, which looks at reality, without self-consolation
Un prologo e tre atti unici
Full text linkIn his essay Pergiorgio Giacché discusses the art of Carmelo Bene, an exception that dictates the rule, as happens in all the arts and as it is usually denied to the theatre.In painting and sculpture and poetry and literature the measurements are taken and the 129 judgments are formed starting from the highest examples and experiments, while the theatre wants to be dejected as a “social game” or enslaved as a “public service”, where the arrogant right of the spectator hangs over the humble duty of the actor. Not a triumphant need to be but an exhausting need to become, that Carmelo Bene has pursued with greater freedom and greater height than the other artists of the twentieth century scene “all’italiana”
Brecht e Benjamin: carattere e personaggio
Full text linkWalter Benjamin had an assiduous relationship with Bertolt Brecht, especially during the latter’s exile in Svendborg in Denmark from 1933 to 1938. The importance of Brecht figure for Benjamis is widely attested. This influence has created several problems for Benjamin. From Adorno to Scholem the criticism towards this relationship was very heavy, fed by a strongly negative judgment against Brecht. The increasing radicalism of their positions gradually led, over the years, to a strong isolation in their respective fields for both Brecht and Benjamin. The attention to the world of children is a common element which ties the work of Brecht and Benjamin. Benjamin came into contact with Brecht thanks to his Latvian assistant director and actress Asja Lacis. For Asja Lacis Benjamin drew up in 1928 the Program for a proletarian theater of children, which can be considered one of the bases for Brecht’s revolutionary practice of theatre. Certainly Benjamin has influenced the development of Brecht’s drama theory, especially the concept of the non- tragic hero in the context of the epic scene
"La Grande Magie" di Dan Jemmet alla Comédie-Française: trucchi, artifici e menzogne
Full text linkIn this essay, Margherita Pastore analyzes the direction of Eduardo de Filippo’s La grande magia realized in 2009 at the Comédie-Française by the british theatre director Dan Jemmet. This direction revisites the neapolitan playwright’s theatrical universe and, by the use of metatheatre, proposes at the same time an interpretation of the play consistent with Eduardo’s desire to establish a link between stage and audience in addition to a show impregnated with the history itself of theatre