Il Castello di Elsinore (E-Journal)
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Coscienze delicate al microscopio. Nuove ipotesi su Svevo
Full text linkThe essay examines the protagonists’ “delicate consciences” in three pièces of Svevo – Inferiorità, Un marito, La rigenerazione – in order to uncover the secret background of these consciences and the “monsters” who inhabit it. The essay also delves into a scandalous episode present in Coscienza di Zeno and extended in La rigenerazione. In the essay the author documents with new observations the opening of the svevian theatre to the powerful influence of Ibsen and Strindberg
Il corpo del performer nel "Pro saltatoribus" di Libanio
Full text linkLibanius Pro Saltatoribus can be seen as a remarkable source dealing with the Body Laws which ruled ancient Performers. This article analyzes and aims at highlighting the Performer’s gestures, training and Body strategies in the way Libanius describes them to the reader. According to him, both actors’ mind and soul are not perverted by the rules of their physical performances. Henceforth, the Platonic and Aristotelian theory, which dated back to V and VI centuries, is rejected; at the same time the one growing up in the theatre milieu is strongly asserted. This treatise is an exhaustive source which goes deeply into the study of ancient theatre, of Performer acting and of playing
Le discipline del corpo nel teatro antico: il caso di Luciano di Samosata
Full text linkThe paper aims at exploring the Laws which rule the Body both in the work of actors and performers in the Theatre of ancient Greece. Two sources are being examined dealing with this topic: the De Saltatione by Lucian of Samosata, and the Pro Saltatoribus by Libanius. This article analyzes the first source trying to highlight Body Strategies, such as gestures, training, semantic values. Lucianus underlines the close relationship between Body (soma) and Mind (psyché), relying on his idea of Thinking in Motion. As a conse- quence he rejects the supremacy of literacy and mind over performance and body
Strutture linguistiche nelle opere maggiori di Henrik Ibsen
Full text linkMany of Henrik Ibsen’s major works are analyzed in great detail by different authors, critics, and translator. However, as Inga-Stina Ewbank in Ibsen’s Language: Literary Text and Theatrical Context argues, no one ever seriously considered the fundamental role played by the language in the expressiveness of his theater. This may partly be due to the fact that the vast majority of his readers only know him through the translated versions of his works. Based on these translations, the critics focus mainly on symbolism or the underlying intentions of the characters. On the contrary, many specifics of his use of language have always been systematically ignored. 
«L’anima della natura espressa dal movimento»: il "Sacre" di Vaclav Nižinskij
Full text linkElena Randi examines the première of The Rite of Spring by Stravinskij- Roerich-Nižinskij (1913), especially as regards its choreographic features. Nižinskij believes that the harmony between man and nature that perfectly and wisely characterized the origins of humankind has been broken in modern times. The Russian dancer, as well as many artists and philosophers of the time, begins to consider such fracture as a worrying issue, entailing terrible consequences. Nižinskij’s idea would be that a new pagan perspective might perhaps save us
Il teatro greco sulla scena italiana. La linea Ronconi-Castri
Full text linkThe paper aims to analyze the relationship between Greek theatre and Italian mise-en-scène. Roberto Alonge examines two examples of two more important directors, Luca Ronconi and Massimo Castri (as everybody knows, Giorgio Strehler never was interested in Greek authors), Medea and Alcesti written by Euripide. Obviously both directors avoid a philological approach and exploit the Greek dramaturgy to express oneself, their fantasies. A male actor, Franco Branciaroli, acts in the role of Medea: that shows the fine misogyny of Luca Ronconi. Alcesti, on the contrary, emphasizes the strange Castri’s feminism, if this term is permitted
Shakespearean ékphrasis. Hermione: a living masterpiece
Full text linkReality/appearance dichotomy can be considered one of Shakespeare’s most celebrated topoi. This paper aims at exploring this conceptual opposition analyzing the statue of Hermione presented in The Winter’s Tale. Through the ékphrastic lines uttered by Leontes, Perdita and Paulina the statue is described in detail. Yet, as a matter of fact, the sculpture “carved” by Giulio Romano is an extraordinary falsehood: a representation within the representation. In truth, the statue of Hermione is nothing but Hermione in the flesh; her body is not a lifeless objet d’art, but is a motionless shape performing as a statue. In so doing, the Queen, the original mould, pretends to represent her own image. She transforms her body into an imitation, into a false likeness. Thus, once again in the Shakespearian canon, seeming and being, deceit and truth, appearance and reality are thoroughly entwined
If the Queen falls in love: "Didone abbandonata" by Pietro Metastasio
Full text linkDidone abbandonata was Metastasio’s first drama for music. It was performed in Naples in 1724 and subsequently replicated and modified for the most famous Italian theaters. This drama was born from an artistic collaboration and the close personal relationship between the poet and singer Marianna Benti Bulgarelli but soon crosses the representative contest for which it was thought, becoming a canonical encounter for many musicians down to the first half of nineteenth century. This scientific essay reconstructs the complex and twofold editorial and theatrical adventure of the first Metastasio’s drama and analyzes the implications of the dramatic text that gives new light to the myth of Virgil Carthaginian queen of theatrical context of seventeenth century. 
Crossing borders: studies about history of theatres. The case of Leipzig as an example of a methodological perspective
Full text linkIn German theatre studies (Theaterwissenschaft), the History of Theatre is generally considered a less important field. Initially, Theaterwissenschaft was identified almost completely with the History of the Theatre, but only as a mere reconstruction of representations of the past. For that reason, it was considered a positivist discipline, whose task was collection and aggregation of data. Both an attitude of stubbornness, which considered the eighteenth century as a starting point of historical reflection on the theatre, and a consequent identification of theatre as drama were among the peculiarities of Theaterwissenschaft. Rudolf Münz (1931-2008), one of the most important scholar in theatre studies, believed that a radical change of mentality was necessary. The historical research from Leipzig, in its present configuration, derives from that radical change of mentality. One of its methodological principles is the cognitive tool of Theatergefüge, which this paper will gradually illustrate through the context of its creation processes and its applications. For the following reflection, the social and historical relations connected to the city of Leipzig during the XVIII century will be a case study, in order to explain the connection between theatre concept and methodology and the way this connection appeared
The impossible integration into the Italian peninsula of "La nonne sanglante" (1835)
Full text linkThis article focuses on Bourgeois and Mallian’s La nonne sanglant, a very successful French mélodrame staged for the first time in Paris in 1835 at La Porte Saint-Martin Theatre, and on the possible reasons why the subject did not encounter the pre-unification Italian theatrical prose market. Since Cammarano’s adaptation – made for Donizetti’s Maria de Rudenz (1838) – avoids almost every religious reference, this essay suggests that the absence of an Italian prose translation of La nonne sanglante during Nineteenth century could be due to at least two unacceptable aspects to the Italian public: on the one hand, the highly critical and anticlerical vision of religious orders and, on the other hand, the fearful pleasure of blood, supernatural and horror that oozes from almost every scene of the text