Il Castello di Elsinore (E-Journal)
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Mettere in scena Ibsen: intervista a Luca Ronconi
Full text linkIn the course of his long career, Ronconi has often staged Ibsen (The Wild Duck, John Gabriel Borkman, Ghosts, Peer Gynt, A Doll House). The interview of Olimpia Sales precisely retraces the steps of Ronconi’s interest for Ibsen. Ronconi loves Ibsen in the size of ambiguity. One feature that concerns also the director. As it says in the interview, ironically, perhaps because both Ibsen and Ronconi are born under the sign of Pisces.In the course of his long career, Ronconi has often staged Ibsen (The Wild Duck, John Gabriel Borkman, Ghosts, Peer Gynt, A Doll House). The interview of Olimpia Sales precisely retraces the steps of Ronconi’s interest for Ibsen. Ronconi loves Ibsen in the size of ambiguity. One feature that concerns also the director. As it says in the interview, ironically, perhaps because both Ibsen and Ronconi are born under the sign of Pisces
Recitare Fosse: sperimentazioni italiane
Full text linkHow should one act Fosse? This article will explore such a theme analyzing the work of Valerio Binasco and Vanda Monaco Westerståhl. Binasco has staged four works by Fosse, occasionally also participating as an actor. His productions are very awake to the essential eloquence of space and the rhythms of time, of which the actor is architect. In his drive to restore poetry to any and all life, the actor seeks the “vital rhythm of the character”, beyond the confines of psychology and judgement, as if in a continued close-up and an intensely musical game. Vanda Monaco, who with her translations contributed greatly to the Italian awareness of Fosse, has worked particularly on I Am the Wind. She has a “physical approach to the text”: a meticulous study into the words and sounds, the emotions and images that this coming together triggers, so as to arrive at a character. Paradoxically, lending characters humanity through the mask of a seventeenth-century Pulcinella who, freed from stereotypes, is quantified by the body of a contemporary actor and the words of a great author
L’attualità e l’eternità. Mnouchkine Ostermeier Lavia Ronconi
Full text linkThe paper examines some mise-en-scène of important directors (Macbeth by Ariane Mnouchkine, the ibsenian production of Ostermeier, The Pillars of Society by Gabriele Lavia and the diptych of Ronconi, Pornography and Celestina). The critic emphasizes the taste for topicality that pushes Ostermeier to stage Ibsen in modern dress, in order to highlight the contents of great topical interest, although this choice prevents the director of grasping the profound message of the Ibsenian writing. Lavia operates differently, respecting costumes and scenography of the nineteenth-century, but only to bring out even more that Ibsen come back into the news. For Lavia the protagonist of The Pillars of Society is a kind of Berlusconi. Alonge confesses to have no interest in this obsession of actua izing the ancient text, which is even more stringent in Mnouchkine’s Macbeth, which suggests Gheddafi’s tragedy. The scholar is more fascinated by Ronconi’s production, which marks a break from the interests of the director. Instead of Ronconi’s usual “ethical moderation”, here we have a focus on the erotic dimension, even if, at the end, flesh and body turn out to be just prison, mud, misery, according to gnosticism’s thought.The paper examines some mise-en-scène of important directors (Macbeth by Ariane Mnouchkine, the ibsenian production of Ostermeier, The Pillars of Society by Gabriele Lavia and the diptych of Ronconi, Pornography and Celestina). The critic emphasizes the taste for topicality that pushes Ostermeier to stage Ibsen in modern dress, in order to highlight the contents of great topical interest, although this choice prevents the director of grasping the profound message of the Ibsenian writing. Lavia operates differently, respecting costumes and scenography of the nineteenth-century, but only to bring out even more that Ibsen come back into the news. For Lavia the protagonist of The Pillars of Society is a kind of Berlusconi. Alonge confesses to have no interest in this obsession of actua izing the ancient text, which is even more stringent in Mnouchkine’s Macbeth, which suggests Gheddafi’s tragedy. The scholar is more fascinated by Ronconi’s production, which marks a break from the interests of the director. Instead of Ronconi’s usual “ethical moderation”, here we have a focus on the erotic dimension, even if, at the end, flesh and body turn out to be just prison, mud, misery, according to gnosticism’s thought
Io neointerprete (per Fosse?)
Full text linkJon Fosse created a poetic dramaturgy for common people. The satellites inhabit the sky, technology brings the world within our own reach, and digital culture is part of us and transform our way of thinking and behaving. This is a time with no heroes, and theatre tells the stories of people. The actor will have to leave the sacredness of theater, its magic, its theories and what has to do with metatheater; he or she will have to leave the certainty of a method and start to cope with the roughness of practices suitable for his or her body between the text and the stage. He or she will learn to read the book a nature, as a Galileo Galilei’s grandnephew
Jon Fosse, un vento lieve che ferisce
Full text linkIn this article, actor and director Marco Sgrosso unveils before our eyes the picture of an encounter: Jon Fosse and Pulcinella intertwine inside a fascinating quest that leads the stock character far away from tradition, into a brand new dimension, to confer an entirely new shape to the dramatic score of Fosse's play I am the wind
Cercare (e trovare) il teatro nelle scritture di Jon Fosse
Full text linkWorldwide performed, Jon Fosse’s theatre is imposing itself as an extraordinarily relevant reality. This article aims to focus on the strength of his dramaturgical works, analyzing the very essence of his prose, both literary and theatrical, with particular attention to the outstanding novel Melancholia, a deeply fascinating masterpiece, extremely rich for what concerns the use of specific “scenic clues”
Essere allo stesso tempo qui e lì. Ombre e il teatro a-venire di Jon Fosse
Full text linkThe article analyzes Fosse’s metaphysical dramaturgy: how, in his plays, he connects the visible and the invisible deconstructing the linear structure of time and space. Through a deep analysis of Shadows and other relevant Fosse’s plays, the article will try to demonstrate that Jon Fosse represents a revolutionary case in our contemporary dramaturgy
Dalla Virginia Marini di Ferrari al Pirandello/Squarzina di Nicolosi. Cauto omaggio a Guido Baldi
Full text linkRoberto Alonge examines two different books. The first is a popular essay concerning Virginia Marini, an important actress of the 19c., written by Franco Ferrari, a past director of the Alessandria Theatre from 1982 to 1996.The second, Squarzina e Pirandello, is a monumental volume by Fabio Nicolosi, a student of Luigi Squarzina, who, in his theatrical career, staged eleven Pirandellian plays, which are at the centre of Nicolosi’s attention. This is a very accurate study about Squarzina – but in the opinion of Roberto Alonge – insufficient in highlighting the limitations of an important but not gifted director. This review examines the last book by Guido Baldi, the most important scholar of Modern and Contemporary Italian Literature, who wrote several original books about Manzoni, Verga, D’Annunzio, Pirandello, Svevo and Gadda. His critical approach is a sort of close reading, which mixes Marxist and Freudian methods in a new way. Ro- berto Alonge dwells upon some essays concerning three plays where the plot is based on the relationship between a sculptor and his model: La Gioconda by Gabriele D’Annunzio, Diana e la Tuda by Luigi Pirandello, and When We Dead Awaken by Henrik Ibsen
Il teatro olandese dell’Aia
Full text linkPhiliep Bossier examines the monumental volume of Jan Hein Furnée, a professor at the Amsterdam University, Points of Civil Fun. Class Consciousness and Urban Culture in The Hague, 1850-1890 (Bert Bakker, Amsterdam 2014, pp. 875) showing the symbolic value of the theater for the ruling classes. The theater is part of several similar spaces, such as public gardens, the new zoo, musical opportunities, etc. The critic appreciates the subtlety of the sociological method, attentive to illuminate the progressive presence of women in areas previously dominated by males only. The theater of the Dutch capital has the prerogative of an alternating programming in French and Dutch language.Philiep Bossier examines the monumental volume of Jan Hein Furnée, a professor at the Amsterdam University, Points of Civil Fun. Class Consciousness and Urban Culture in The Hague, 1850-1890 (Bert Bakker, Amsterdam 2014, pp. 875) showing the symbolic value of the theater for the ruling classes. The theater is part of several similar spaces, such as public gardens, the new zoo, musical opportunities, etc. The critic appreciates the subtlety of the sociological method, attentive to illuminate the progressive presence of women in areas previously dominated by males only. The theater of the Dutch capital has the prerogative of an alternating programming in French and Dutch language