Il Castello di Elsinore (E-Journal)
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Problemi di drammaturgia della danza
Full text linkIn dance, we are beginning to talk about dramaturgy from the end of the Nineties of the Twentieth Century, when Pina Bausch began to regularly make use of the collaboration of the dramaturg Raimund Hoghe. Unlike the theatrical tradition, within which the dramaturg has a role of mediator between stage and audience in the form of literary adviser of the director, the dramaturgy of dance inaugurates new processes closer to the post-dramatic theater and performance and influenced by postmodern dance studies. First, the essay investigates the effects and the feelings caused by the interaction between all the material involved in the composition of a danced performance and perceptive and cognitive ability of the spectators; secondly the essay explores the power relations that are established among the different actors of dance production (dancers, choreographers, curators, dramaturgs)
Salvate il soldato Bordin
Full text linkRoberto Alonge reviewed the book of Anglani, Che cos’è questa crisi? Divagazioni sul teatro di Goldoni e sui suoi interpreti, which is a large volume of over 500 pages. It is a very long digression, written in a light and sympathetic tone, full of irony. It is, in practice, a pamphlet, however anomalous. In the final part of his review Alonge dwells on one of the many Goldoni scholars of which speaks the book of Anglani: Michele Bordin which is an italianist scholar of value, a pupil of Giorgio Padoan, that only the cruelty (and blindness) of the Italian University can leave confined to teaching in high schools
I trucchi di Mefistofele. Scenografie per il "Faust" di Gounod
Full text linkOn March 19, 1859, Faust by Charles Gounod was staged for the first time at the Théâtre Lyrique in Paris. The welcome was warm, but subsequent changes to the score, together with some ingenious promotional ideas, soon made a resounding success, so much so that, ten years after its debut, the staging at the Paris Opéra consecrated Faust among the masterpieces of the French musical theatre. The scenic design contributed to the approval consistently, being set by a team of well-known artists, according to the custom of the greatest Parisian theaters and making skilful use of current technical devices and stage effects. This paper aims to focus on the astonishing traps and tricks with which Mephistopheles works out to convince Faust to sell his soul. Afterwards, a comparison with the most recent and debated production of Gounod's opera in Paris will be proposed (by Jean-Louis Martinoty in 2011), trying to analyze its distinctive scenic ideas
Marcello Mastroianni e Peter Brook
Full text linkThe essay, focusing on the relationship between Marcello Mastroianni and Peter Brook (1984), also analyzes the relationship of the Italian actor with his theatrical and cinematographic vocation, in relation to the historical situations of Italian theatre
Beppe Navello, "Una delle ultime sere di carnovale"
Full text linkThe essay examines the last production of Beppe Navello, Una delle ultime sere di carnovale by Carlo Goldoni. In his famous staging of 1968 Luigi Squarzina interpreted the play as a metaphor of difficulties of mise-en-scène in the years of the birth of the public theatre in Italy. Navello, on the contrary, explores the play in its own autonomous structure, as a network of interesting characters for themselves, focusing on the clash between men and women
"Il giardino dei ciliegi" di Valter Malosti
Full text linkThis article examines the production by Valter Malosti, The Cherry Orchard, writted by Čechov. Malosti refuses the taste for topicality that pushed Ostermeier, last year, to stage Čechov’s The Seagull in modern dress, changing the words of the text. This traditional and very faithful production, faces the great čechovian subjects (time’s and death’s fascination) but that doesn’t prevent an original approach according the artistic choice of a director as Malosti, usually inclined to Avant-gard theatrical invention
Metateatralità e regia in "Ogni anno punto e da capo" di Eduardo De Filippo
Full text linkIn Ogni anno punto e da capo wrote and directed, but not recited, by Eduardo in 1971, you can get much more significant implications than the tone of the show – a fun reinvention of the revue of the Thirties – could let believe at first. The show stands, in fact, as the peak of an intense season of exchanges and collaborations between Eduardo and the Piccolo Teatro of Milan, also promoted by the interest of Eduardo for modern prerogatives of the role of director. Making use of critical and documentary evidence of the period, the contribution reconstructs the show by Eduardo, focusing on his own directing perspective, characterized by metatheatricality and autobiography, towards a regeneration of national dramaturgy by the lifeblood of the Neapolitan theater tradition
Rivisitare i classici in cinema-scope: il Teatro Popolare Italiano di Vittorio Gassman
Full text linkAs of the 1957-1958 biennium, Vittorio Gassman starts a moment of retrospective reflection on its activities, but also of constant action in different fields, such as theater, cinema and television. In this period matures the idea that lead to the birth of the Italian Popular Theatre on April 3, 1959: a traveling theater that involves and educates the public through a repertoire accessible to all and culturally also raised. The intent of the artistic project is to awaken the ritual matrix and pedagogical of live performance, making re-aggregation tool, and sharing. This essay reconstructs the activity and the repertoire highlighting the main news of TPI in the theater scene of the Sixties
Tiezzi / Ostermeier, "Questa sera si recita a soggetto" / "Il gabbiano": occasioni sprecate
Full text linkThis article examines the production by Tiezzi, writted by Pirandello and the production by Ostermeier, writted by Čechov. Tiezzi – according to Alonge – exalts the metatheatrical approach of a typical “play within the play”, but the result is negative. More persuasive is the originality of Tiezzi when he penetrates the Sicilian story, full of jealousy and violence, between Mommina and Rico Verri. The production by Ostermeier is absolutely disappointing. Alonge emphasizes the taste for topicality that pushes Ostermeier to stage Čechov in modern dress, changing the words of the text
In Memory of Mario Missiroli
Full text linkRoberto Alonge commemorates Mario Missiroli, an important director, who died in Turin on May 19th 2014