Il Castello di Elsinore (E-Journal)
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Jon Fosse e la rinascita del teatro testuale
Full text linkPlaywright and curator Gian Maria Cervo contextualizes Jon Fosse’s work within the “new writing” theatrical phenomenon and movements, as well as within the burgeoning literary management cultures which supported them in the last two decades
Se l’Italia non Fosse
Full text linkThe article reviews the reasons of the Fosse’s just partial success on italian scene. The poor acknowledgment of the worldwide appreciated dramatist reveals the actual situation of theatre in Italy: the cultural faults of producers and promoters, the weak action of cultural policies, and the peculiar condition of dramaturgy and drama critics
"Stanotte non dorme il cortile" di Gianni Rodari e di Marcello Sartarelli. Una realtà fantastica nel teatro italiano degli anni Cinquanta
Full text linkTonight the Courtyard Doesn’t Sleep is a unique case in the Mass Theatre, both because the actors are children, and because it joins historical topics and fantastical stories. The script written by Gianni Rodari and Marcello Sartarelli is staged in Carlo Felice Theatre in Genova on 17th February 1951. The story which revolves around a courtyard and the children that enliven it, develops from 1943 to the second postwar period. In Tonight the Courtyard Doesn’t Sleep the real dimension and the fantastic one live together. The latter is analyzed in relation to a fable utopia that, even if in minority, is no extraneous to the realism of the 50s.Tonight the Courtyard Doesn’t Sleep is a unique case in the Mass Theatre, both because the actors are children, and because it joins historical topics and fantastical stories. The script written by Gianni Rodari and Marcello Sartarelli is staged in Carlo Felice Theatre in Genova on 17th February 1951. The story which revolves around a courtyard and the children that enliven it, develops from 1943 to the second postwar period. In Tonight the Courtyard Doesn’t Sleep the real dimension and the fantastic one live together. The latter is analyzed in relation to a fable utopia that, even if in minority, is no extraneous to the realism of the 50s
Jon Fosse e la regia
Full text linkThe essay analyzes the connection between Jon Fosse and the post-dramatic writing, considering a more complex definition of postmodernism for the Norwegian playwright, and its link with the modern tradition of Ibsen, Strindberg and Beckett. Moreover, is considered Fosse’s peculiar idea of the art of directing, so largely implicit in the writing of his own texts
Il fantasma della tragedia
Full text linkSince Aristophanes and Aristotle up to Romanticism, critics have always been praising the harmony of classical tragedy compared to the modern “philosophical” tragedy, whose disharmony constitutes its very content and form. Euripides expressed the crisis of a long fin de siècle with the crisis of the tragical form itself: the impossibility of an harmonic tragedy is precisely the answer of the less classical among the tragedians of that time. Without rejecting myth, he escaped the established form shaped by his predecessors, thus creating a "new" tragedy, of which Helen is probably the most famous example. As a matter of fact, Helen has received a wide variety of definitions across time such as: «the most entertaining among the tragedies»; «a mere entertainment for the audience»; «everything but a tragedy»; «a good achievement, but without the greatness pertaining to tragedy»; «the greatest among the euripidean tragedies». The aim of my paper is to demonstrate how Helen is actually inserted in a coherent elaboration of the tragic form made by Euripides: it is thanks to the happy ending and to the admission of buffoonish elements within drama – that is to say, by mastering both comedy and tragedy, as suggested by Socrates at the end of the Symposium (223d 3-6) – that the poet managed to be “the most tragic among tragedians”, as Aristotle defined him (Poetics 1453a 30).Since Aristophanes and Aristotle up to Romanticism, critics have always been praising the harmony of classical tragedy compared to the modern “philosophical” tragedy, whose disharmony constitutes its very content and form. Euripides expressed the crisis of a long fin de siècle with the crisis of the tragical form itself: the impossibility of an harmonic tragedy is precisely the answer of the less classical among the tragedians of that time. Without rejecting myth, he escaped the established form shaped by his predecessors, thus creating a "new" tragedy, of which Helen is probably the most famous example. As a matter of fact, Helen has received a wide variety of definitions across time such as: «the most entertaining among the tragedies»; «a mere entertainment for the audience»; «everything but a tragedy»; «a good achievement, but without the greatness pertaining to tragedy»; «the greatest among the euripidean tragedies». The aim of my paper is to demonstrate how Helen is actually inserted in a coherent elaboration of the tragic form made by Euripides: it is thanks to the happy ending and to the admission of buffoonish elements within drama – that is to say, by mastering both comedy and tragedy, as suggested by Socrates at the end of the Symposium (223d 3-6) – that the poet managed to be “the most tragic among tragedians”, as Aristotle defined him (Poetics 1453a 30)
L’intimità e la Storia. Nota su "Napoli milionaria!"
Full text linkThe essay analyzes the three times of the private and collective story of Napoli milionaria! and in relation to them the characters’ psychological dynamic. One wonders in particular on the Amalia’s psychological verisimilitude, on the intimate suffering that redeems her.The essay analyzes the three times of the private and collective story of Napoli milionaria! and in relation to them the characters’ psychological dynamic. One wonders in particular on the Amalia’s psychological verisimilitude, on the intimate suffering that redeems her
Marco Bernardi, "La vita che ti diedi"
Full text linkThis article examines the production by Marco Bernardi, La vita che ti diedi written by Luigi Pirandello, a text which exalts the mission and the function of a mother. The main character, Donn’Anna, is obsessively withdrawn into her beloved son. Unlike Massimo Castri’s staging of 1978, Bernardi doesn’t restrict himself in underling the central position of Donn’Anna, but sets off all the characters, including the sister, Fiorina, with a personal interest in money. Thanks to some evocative costumes of 1920s, Bernardi offers us the picture of the Italian bourgeoisie, both hypocritical and moralistically prude
I dolori del giovane Osvald. Rileggendo "Spettri"
Full text linkAt first the author of the essay discusses the Roberto Alonge’s bold and provocative theory on Spettri in the light of the freudian notion of "compromise formation" typical, according to Francesco Orlando, of the literary. After throwing new light on the Ibsen’s statements in regard to the interpretation that Zacconi gave about Osvald Alving, the essay offers some suggestions for a reading, in biblical and "degenerative" key, of the behavior and disease of the same Osvald. Finally the essay proposes, in the wake of Orlando, a reading of what is perturbing in Spettri (and in many modern dramas of Ibsen) in the double freudian meaning: "return of the repressed" and "return of the surmounted".At first the author of the essay discusses the Roberto Alonge’s bold and provocative theory on Spettri in the light of the freudian notion of "compromise formation" typical, according to Francesco Orlando, of the literary. After throwing new light on the Ibsen’s statements in regard to the interpretation that Zacconi gave about Osvald Alving, the essay offers some suggestions for a reading, in biblical and "degenerative" key, of the behavior and disease of the same Osvald. Finally the essay proposes, in the wake of Orlando, a reading of what is perturbing in Spettri (and in many modern dramas of Ibsen) in the double freudian meaning: "return of the repressed" and "return of the surmounted"
Simone Forti tra 1968 e 1979: uno “stato di enchantment”
Full text linkMargherita Pirotto examines Simone Forti’s performances in the years 1968-1979, with the aim of identifying the theoretical principles and the creative process on which they are constructed. The investigated productions by Forti are improvisations based on a pattern meticulously experimented off-stage, in which the performer’s body moves with the aim of following its natural laws (e.g. the force of gravity). The resulting work is not objective, cold or “scientific” in the strict sense of the word; on the contrary, here the subjective dimension is fundamental. Indeed, after choosing her object of inspiration (e.g. animals in a zoo), Forti tries to find its moving modalities in her own body, “embodying” them through a process of empathy, unleashing what the artist terms as “a dance state”; defining the meaning of the latter is one of the aims of the present article.Margherita Pirotto examines Simone Forti’s performances in the years 1968-1979, with the aim of identifying the theoretical principles and the creative process on which they are constructed. The investigated productions by Forti are improvisations based on a pattern meticulously experimented off-stage, in which the performer’s body moves with the aim of following its natural laws (e.g. the force of gravity). The resulting work is not objective, cold or “scientific” in the strict sense of the word; on the contrary, here the subjective dimension is fundamental. Indeed, after choosing her object of inspiration (e.g. animals in a zoo), Forti tries to find its moving modalities in her own body, “embodying” them through a process of empathy, unleashing what the artist terms as “a dance state”; defining the meaning of the latter is one of the aims of the present article
Ronconi/Pirandello: dai "Sei personaggi" a "L’innesto"
Full text linkThis essay deals with the practice of the workshop, which always bewitched Luca Ronconi. Recently, Ronconi organized in Umbria, with Roberta Carlotti, the Centro Teatrale Santa Cristina, where he directed the approach to two plays of Pirandello, Sei personaggi in cerca d’autore (laid out in 2010 and 2011, before to turn into the mise-en-scène seen by Roberto Alonge in Milan, in October 2012) and L’innesto (born in 2012, perhaps destined for a brilliant future on the stage also). They are a double expression of the interest that Ronconi attaches to Pirandello, an author not very loved in the past by Ronconi. The Grand Master of the Italian theatre revises the Pirandellian texts, but his reworking focuses attention to the secret sensibility of the dramatist, between maternal instincts and incestuous reveries.This essay deals with the practice of the workshop, which always bewitched Luca Ronconi. Recently, Ronconi organized in Umbria, with Roberta Carlotti, the Centro Teatrale Santa Cristina, where he directed the approach to two plays of Pirandello, Sei personaggi in cerca d’autore (laid out in 2010 and 2011, before to turn into the mise-en-scène seen by Roberto Alonge in Milan, in October 2012) and L’innesto (born in 2012, perhaps destined for a brilliant future on the stage also). They are a double expression of the interest that Ronconi attaches to Pirandello, an author not very loved in the past by Ronconi. The Grand Master of the Italian theatre revises the Pirandellian texts, but his reworking focuses attention to the secret sensibility of the dramatist, between maternal instincts and incestuous reveries