Il Castello di Elsinore (E-Journal)
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Statue viventi in un luogo di delizia (e di martirio). L’attore sulla scena pirandelliana
Full text linkThe essay analyzes the image of the statue in some pirandellian texts, in particular in an essay on Eleonora Duse and in two pièces of the ‘Marta cycle’, Diana e la Tuda and Trovarsi, following now the path from the statue to the flesh, now the reverse path from the flesh to the statue. Particular attention is also paid to the Donata Genzi’s modalities of acting in the finale of Trovarsi
Due o tre cose che so di lui (Sul teatro del Fumoso, «pellegrino Ingegno de la Congrega de’ Rozzi»)
Full text linkThe present study offers a synthetic overview of some of the key insights that emerged from the first critical commented edition of the plays of the 16th-century Rozzi 119 Congregation (Congrega dei Rozzi). The edition focused on the corpus of the Congregation’s chief exponent, Salvestro, the paper-manufacturer, called Il Fumoso. That work not only provided fundamental methodological indications regarding the philological analysis of dramatic works, but also suggested the possibility of becoming acquainted with a dramatic art quite different from the kind of “theatre we have in mind”. The approach involved suspending any hermeneutic pre-judgement, by relying on a painstaking consideration of those witnesses that – albeit reticent – have handed down to us the otherness and richness of that culture
Luigi Rasi dalla declamazione al melologo
Full text linkThe essay focuses on the music and theatre performances led by Luigi Rasi, Director of the “Regia Scuola di Recitazione di Firenze” (Royal School of Acting of Florence since 1882 to 1918. Actor, writer, historian of theatre and teacher of declamation, Rasi brought on stage several melodramas, from Bürger’s Lenore to Schumann’s Manfred. In collaboration with the “Regio Istituto Musicale di Firenze” (Royal Music Institute of Florence) and in dialogue with different European intellectuals (among others, Arnaldo Bonaventura, Edward Dent, Edgardo Maddalena) Rasi researched a new relationship between music and declamation, a field of experimentation which would have later found a larger fortune also in Italy
L'attore e l'allegoria. Note in margine a Ejzenštein, Benjamin, Bazin, Brecht
Full text linkThe essay addresses the important theoretical question of the relationship between actor and character in film and theatrical acting through Benjamin’s distinction between symbol and allegory, also reflecting on the topic of Sergej Ejzenštejn, André Bazin and Bertolt Brecht
Odissea A/R di Emma Dante. Riattivazione del mito in due movimenti
Full text linkWith the reworking of the initial and final episodes of the homeric Odyssey (Telemachy-outward and Odysseus-return), Odissea A/R by Emma Dante may be included among those dramatization works that try to reactivate a source of the past, whether dra- matic or not, with all the meanings that allow it to be transmuted over time. By comparing the drama with the Odyssey, which for the Palermitan writer and stage director represents a way to “go back to her own origin”, but also with the different scripts that anticipate the printed edition (Glifo Edizioni, Palermo 2016), the essay analyzes the dramatic design and the peculiar language used by the artist, oscillating between different registers: high, when descending from Homer, more often low, and in dialect. It also opens up speculations about the performance, aiming to point out the considerable traces included in the written page, that rouse the reader's imagination
Fokine, Nižinskij, Nižinskaja: tra evento scenico e Weltanschauung
Full text linkElena Randi analyses and compares four masterpieces of the Ballets Russes: Petruška by Fokine (1911), L’Après-midi d’un faune (1912) and Le Sacre du Printemps (1913) by Nižinskij and Les Noces by Bronislava Nižinskaja (1923), observing that some of their themes correspond. But while in the former three works a belief in the existence of an ideal age or at least of an original perfect art still transpires, in Bronislava Nižinskaja’s Les Noces such belief in the ideal seems to evaporate, a sense of resignation rather emerging. Between them lay the First World War and the Russian Revolution – the latter, enthusiasti- cally welcomed by many at start, disappointed many supporters later on
"Petruška", 1911. La frammentazione e l’unità
Full text linkElena Randi explores the first staging of the ballet Petruška (Ballets Russes, Paris 1911, choreography by Fokine, scene design and costumes by Benois, music by Stravinskij). Mainly through the analysis of the characters’ actions and of the décor, the author demonstrates that the little theatre in which a large part of the story takes place represents an ideal microcosm, a space of harmony as well as of ideal performance where dance, music and picture merge; at the same time, it would be a metaphor of Eden. When one of the three beings living in the little theatre allows himself to be led by passions (by subjectivity), harmony is destroyed: Man plunges into the modern era, the age of conflict and dis-order, the age of the loss of original Unity
Missione Crevette: le prime rappresentazioni italiane della "Dame de chez Maxim"
Full text linkAt the end of the 19th century, Italian stages were dominated by a very popular form of French comedy, which audiences and managers called pochade. One of the most interesting examples of this genre is La dame de chez Maxim, staged for the first time in Italy in the Autumn 1899 with a large success of audience, while critics are almost unanimous in saying it was not a good text. The essay explores the different approaches to the play by Italian companies, starting from the analysis of the Feydeau script, translated into Italian by Giovanni Pozza, in order to explain the charming success of the main character Crevette, that was role-played by several actress, but became unforgettable in Dina Galli’s performance, since her first appearance in the Virgilio Talli’s Company in 1900
"By the Bog of Cats" di Marina Carr, tragedia dell’autoconsapevolezza
Full text linkAfter an experimental period strongly influenced by Samuel Beckett, between the late 1980s and the early 1990s Marina Carr emerged with the «Midlands trilogy» The Mai (1994), Portia Coughlan (1996) and By the Bog of Cats (1998) as one of the most potent and talented Irish women dramatists, competing with celebrated male playwrights, such as Frank McGuinness, Brian Friel, Martin McDonagh, Dermot Bolger, Conor McPherson, Sebastian Barry, and Enda Walsh. This essay will shed light on the last play of the trilogy, By the Bog of Cats, tragedy of a «settled Traveller» which Patrick Lonergan has rightly defined as «Carr’s masterpiece»