Il Castello di Elsinore (E-Journal)
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Crossing borders: studies about history of theatres. The sase 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
Unmitigated Pigs. A note about "Scàmpolo" by Dario Niccodemi
Full text linkThe paper examines Scàmpolo, an old text written in 1915 by Dario Niccodemi, which became very popular in Italy, a country of unmitigated fools, but also of unmitigated pigs, according to Roberto Alonge. In fact, the scholar underlines that Scàmpolo is a story of pedophile instincts of three men (forty, fifty and sixty years old), who covet a love affair with a sixteen-year-old girl. But Roberto Alonge points out that Italian critics of the 20th century disguised the troublesome truth of Scàmpolo, interpreting the text as an innocent exaltation of a popular soundness personified by a nice streetwise girl living on the streets of Rome
The sad passions and the (removed) legacy of educational theatre
Full text linkThe essay examines the phenomenon of educational theatre in the Sixties, focalizing his relationships with the school, with particular attention to the connection between process and product and to the aesthetic dimension. In this perspective, the essay will focus on the removed legacy of educational theatre and on the developments of the relationships between theatre and school in the following decades until now, trying to show how some principles of that particular experience have a new role in our contemporary world, marked by risk of individualism, by the distrust in public institutions and by the absence of desire. A kind of uneasiness that Miguel Benasayag calls “the era of sad passions” and Massimo Recalcati, referring to the school, defines Narcissus School
How to build heaven on stage. The theatre reform of Georg Fuchs in the staging of Goethe’s "Faust"
Full text linkIn May 1908 the Künstlertheater in Munich first opened its doors to the public. The new theatre had just been built according to the structural ideas of the German publicist and theatre theorist Georg Fuchs (1868-1949) and the first play to be represented on the new stage – Goethe’s Faust – had been chosen by the dramatist in order to represent the profound reform he wished for the theatre (later summarized in his famous Revolution in the Theatre). Thanks to the critiques of the time and Fuchs’s own writings, it is possible to partly reconstruct the staging of the play, and to gain a privileged insight into the practical transposition of Fuchs’s theatre reform, as well as into a time in which theatre seems to be on the brink of a profound renewal while being yet strongly attached to its recent past
«My mouth is an altar / where your kiss is God!». A modern enchantment of love in Puccini’s "Manon Lescaut"
Full text linkManon Lescaut, Giacomo Puccini’s third troubled opera, was often mistreated by critics. Nevertheless, if stripped of the influence of Puccini’s greatest works and of those of other authors on the same subject, the interpretation of Manon Lescaut reveals unexpected boldness and affinity with the innovations of Wagner and the twentieth-century theatrical language. The last act symbolically embodies these aspects and this is why we have also paid attention to the way in which it was played theatrically
The theatre in the shadow of fascism
Full text linkThe paper examines two books about Italian theater during fascism. The first book, written by Pietro Cavallo, analyses some scripts of the theatrical censorship Collection at the Central Archives of the State in Rome; the second book, written by Ilona Fried, talks about the Convention on the dramatic theater, held in Rome in October 1934, in the light of unpublished documents
The visual code in Athenian tragic performing composition: between poetry and material staging
Full text linkThe tragical poets were used to composing both the verbal and the performing text. This article is going to examine the sources which deal with this item. Going through Platon’s Republic, Aristotle’s Poetics, some of Aristophane’s comedies and the ancient Scolia the author aims to reveal the tragical way of composing, in which the poets were involved both as writers and as metteur en scène
"Six characters in search of an author" staged by Gabriele Lavia, a gifted director-dramaturg
Full text linkThis article examines the production by Gabriele Lavia, Six Characters in Search of an Author, written by Luigi Pirandello. Lavia refuses the metatheatrical approach and prefers to penetrate the plot of the text, which offers us – according to Lavia – a subversive mix of dangerous subjects (incest, paedophilia, exhibitionism and perversions typical of a cuckolded husband). Alonge’s analysis exalts the great originality of Lavia’s creation and underlines that Lavia pierces the text as an acute Pirandellian philologist, mixing in his script some different editions of the text (the last edition of 1925, the first of 1921, and even the second edition of 1923)
Outside the Box. Notes about the theatre and the First World War
Full text linkThe essay offers an analysis of Italian theatre’s situation during the years of the First World War. The discontinuity caused by the outbreak of the conflict has important consequences not only in terms of language and style, but also of organization: in this period comes the “grottesco”, the first plays by Pirandello, the phenomenon of stardom, the outbreak of the controversy about theatrical trust, the new relationship between theatre and cinema. At the end of the war Italian scene has changed significantly, so much so that the war period can be properly understood as “foundational” for the Italian theatre
Process vs product? A retrospective view on the relationships between theatre, school and theatrical animation
Full text linkThe paper aims to analyze the relationship between process and product in the context of the relationships between theater and school, focusing especially on the season of the Sixties, marked by the phenomenon of the “animazione teatrale”, which was distinguished by the novelty and originality of the approaches. In this context, attention will be highlighted on the dimension of the process, understood as a privileged place for the development of creativity and maturity of individuals and groups, often at odds with the product, intended as goods imposed by the system and the ruling class. Finally, we will focus on the synthesis between process and product conceived from the “animazione teatrale” in the theatrical concept of “drammatizzazione”