Il Castello di Elsinore (E-Journal)
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Il "Jeu de la feuillée" tra cultura carnevalesca e cultura letteraria
Full text linkThe Jeu de la feuillée by Adam de la Halle, a pivotal text for the history of medieval theater, stands at the intersection of a double legacy: that of literary culture, and of carnival culture. The traits of the latter – as they have been enunciated by Mikhail Bakhtin – are essentially all present in the work, forming a coherent system, one which endowed with meaning: the essay, after having reviewed the ways in which those traits are presented and are actualized in the Jeu, addresses the question (a crucial one from the philological point of view) of the conditions that allow Adam, an intellectual, to make the layer (non-literary or pre-literary) of carnival culture emerge at the level of literature, allowing its transmission down to us. The article is closed by a Postilla in which the author suggests some working hypotheses on specific points of the Jeu de la feuillée.The Jeu de la feuillée by Adam de la Halle, a pivotal text for the history of medieval theater, stands at the intersection of a double legacy: that of literary culture, and of carnival culture. The traits of the latter – as they have been enunciated by Mikhail Bakhtin – are essentially all present in the work, forming a coherent system, one which endowed with meaning: the essay, after having reviewed the ways in which those traits are presented and are actualized in the Jeu, addresses the question (a crucial one from the philological point of view) of the conditions that allow Adam, an intellectual, to make the layer (non-literary or pre-literary) of carnival culture emerge at the level of literature, allowing its transmission down to us. The article is closed by a Postilla in which the author suggests some working hypotheses on specific points of the Jeu de la feuillée
Seneca l’insostituibile: il "Tieste"
Full text linkThe paper aims to underline Seneca’s value, as a playwright, in the Ancient Theatre studies. After decades of bias against the value of his dramatic works, in order to make him a cento’s poet, we made the choice to analyze the Thiestes, as it is the only plot left of this family’ saga on the borderline of horror. The originality of the paper consists in two elements: the first one is the attempt to demonstrate how impossible it is to consider the Thyestes as the product of a patchwork of various Greco-romans authors, since all the fragments (from Sophocles to Accius) prove themselves not appropriate for a comparison, because of internal limits (with exception of Accius’ ones which might derive from a common source). The second element tries to underline – through a particular deconstruction of the lines – the unvarying and monolithic role of Atreus, which is anticipated by the Fury and supported by the Messenger’s account, a long monologue in which his demonic role subverts the entire dramatic distribution.The paper aims to underline Seneca’s value, as a playwright, in the Ancient Theatre studies. After decades of bias against the value of his dramatic works, in order to make him a cento’s poet, we made the choice to analyze the Thiestes, as it is the only plot left of this family’ saga on the borderline of horror. The originality of the paper consists in two elements: the first one is the attempt to demonstrate how impossible it is to consider the Thyestes as the product of a patchwork of various Greco-romans authors, since all the fragments (from Sophocles to Accius) prove themselves not appropriate for a comparison, because of internal limits (with exception of Accius’ ones which might derive from a common source). The second element tries to underline – through a particular deconstruction of the lines – the unvarying and monolithic role of Atreus, which is anticipated by the Fury and supported by the Messenger’s account, a long monologue in which his demonic role subverts the entire dramatic distribution
Beniamino Joppolo : antifascisme et fantastique social
Full text linkJoppolo’s anti-fascist political stance is paradoxical to say the least. His “provocative irony” is a systematic political stance attitude that led him to stay clear of any radical positions and to argue in favor of artists’ and intellectuals’ detachment from the political life. Joppolo’s work, especially his plays, defends the necessity of simple action, carried out in the “everyday life humility”. As the writer develops his reflection, mathematical and artistic creativity eclipses the socio-political axis. These reflections climax into two concepts: the social fantastic, already theorized by Mac Orlan, and the abhumanism, imagined by both J. and Audiberti, promoted as an overarching principle, both the essence and substrate of Joppolo’s ethics. In the end, the complex evolution of his thinking crystallizes in abhumanism understood as the synthetic blend of communism, ecumenical Christianity and existentialism.Joppolo’s anti-fascist political stance is paradoxical to say the least. His “provocative irony” is a systematic political stance attitude that led him to stay clear of any radical positions and to argue in favor of artists’ and intellectuals’ detachment from the political life. Joppolo’s work, especially his plays, defends the necessity of simple action, carried out in the “everyday life humility”. As the writer develops his reflection, mathematical and artistic creativity eclipses the socio-political axis. These reflections climax into two concepts: the social fantastic, already theorized by Mac Orlan, and the abhumanism, imagined by both J. and Audiberti, promoted as an overarching principle, both the essence and substrate of Joppolo’s ethics. In the end, the complex evolution of his thinking crystallizes in abhumanism understood as the synthetic blend of communism, ecumenical Christianity and existentialism
Fra vita e scena. Appunti sulla commedia senese cinquecentesca
Full text linkIn 16th century in Siena prospers a unique model of comedy adventure, consumed and produced during academic holidays, full of references to the city life, that is often the result of different hands creation. This kind of comedy is characterize by the "pluringuismo", which means the centrality of female heroines, dressed like males, and protagonists of romantic adventures in a vibrant mix of comic and pathetic. The academy Intronati fixes the dramaturgical rules designed to have an extraordinary european fortune. This was possible thanks to the mediation of a specialized press, of the comedians of Art and of the Bargagli brothers, who build the memorial myth of this show culture after the fall of the republic.In 16th century in Siena prospers a unique model of comedy adventure, consumed and produced during academic holidays, full of references to the city life, that is often the result of different hands creation. This kind of comedy is characterize by the "pluringuismo", which means the centrality of female heroines, dressed like males, and protagonists of romantic adventures in a vibrant mix of comic and pathetic. The academy Intronati fixes the dramaturgical rules designed to have an extraordinary european fortune. This was possible thanks to the mediation of a specialized press, of the comedians of Art and of the Bargagli brothers, who build the memorial myth of this show culture after the fall of the republic
Il Teatro della Pantomima Futurista di Enrico Prampolini: Folgore, Pirandello, Marinetti
Full text linkThe main argument of this essay is one of the most striking episodes among the theatrical researches in the first half of the twentieth century: the Teatro della Pantomima Futurista designed by Enrico Prampolini. Reading the theoretical and programmatic articles written by Prampolini, in addition to the chronicles of the time, I will try to retrace the origin and development of the project, focusing on the contribution provided by dramatists as diverse as Luciano Folgore, Luigi Pirandello and Filippo Tommaso Marinetti.The main argument of this essay is one of the most striking episodes among the theatrical researches in the first half of the twentieth century: the Teatro della Pantomima Futurista designed by Enrico Prampolini. Reading the theoretical and programmatic articles written by Prampolini, in addition to the chronicles of the time, I will try to retrace the origin and development of the project, focusing on the contribution provided by dramatists as diverse as Luciano Folgore, Luigi Pirandello and Filippo Tommaso Marinetti
"La notte" di Koltès: all’origine di un testo
Full text linkIn Bernard-Marie Koltès’ artistical life there is a remarkable and sudden stylistic gap: the passage from his old way of writing and the new one is not progressive. In the late 70’s his new pieces are absolutely different from his previous works. This article aims to show the origin of this new theatrical conception, emphasizing the significance of some biographical details. There is a traumatic moment in bmk’s biography which accounts for the radical shift both in his life point of view and in his theatre. The night of Koltès is the night which upset his whole world, marking a real turning point in his life.In Bernard-Marie Koltès’ artistical life there is a remarkable and sudden stylistic gap: the passage from his old way of writing and the new one is not progressive. In the late 70’s his new pieces are absolutely different from his previous works. This article aims to show the origin of this new theatrical conception, emphasizing the significance of some biographical details. There is a traumatic moment in bmk’s biography which accounts for the radical shift both in his life point of view and in his theatre. The night of Koltès is the night which upset his whole world, marking a real turning point in his life
Braunschweig, "L’anitra selvatica" di Ibsen
Full text linkIbsen – for Braunschweig – is a kind of obsession. The Wild Duck – staged at the Théâtre de la Colline in Paris, January 10, 2014 – is the sixth ibsenian performance of forty year French director. Braunschweig eliminates the first act, set in the rich living room of Werle. Thus fails the sociological dimension of the text, the contrast with the petty bourgeois environment of Hjalmar, and it dictates the psychological dimension, the contrast between Werle and Gregers, his son. The director profoundly alters the critical tradition, making Gregers a homosexual potential, interpreting the couple Gregers-Werle as a double filtered through the model Hippolytus-Theseus. A further test of maturity of the director, after the diptych of 2009, A Doll House/Rosmersholm, of which Braunschweig reproduces two main features: the great scenographic inventiveness, and the use of an ambiguous acting, capable of arousing laughter from the audience.Ibsen – for Braunschweig – is a kind of obsession. The Wild Duck – staged at the Théâtre de la Colline in Paris, January 10, 2014 – is the sixth ibsenian performance of forty year French director. Braunschweig eliminates the first act, set in the rich living room of Werle. Thus fails the sociological dimension of the text, the contrast with the petty bourgeois environment of Hjalmar, and it dictates the psychological dimension, the contrast between Werle and Gregers, his son. The director profoundly alters the critical tradition, making Gregers a homosexual potential, interpreting the couple Gregers-Werle as a double filtered through the model Hippolytus-Theseus. A further test of maturity of the director, after the diptych of 2009, A Doll House/Rosmersholm, of which Braunschweig reproduces two main features: the great scenographic inventiveness, and the use of an ambiguous acting, capable of arousing laughter from the audience
La suggestiva "Hedda Gabler" di Antonio Calenda
Full text linkThis article examines the very recent mise-en-scène made by the Teatro Stabile di Trieste, directed by Antonio Calenda (Manuela Mandracchia as the protagonist), and highlights the tied relationship that the director has intended to establish with the more provocative Ibsenian critics, according to which Hedda could be anything except the character of a proto-martyr of the Decadency ideology. The Ibsenian text – in Calenda’s staging – is haunted by an incestuous ghost between Hedda and her father, the General Gabler, which – in the past – stopped her love to Løvborg, and – in the present – stops her marriage with Tesman (Hedda accepts to marry Tesman, but she keeps her maiden name (Hedda Gabler, not Hedda Tesman).This article examines the very recent mise-en-scène made by the Teatro Stabile di Trieste, directed by Antonio Calenda (Manuela Mandracchia as the protagonist), and highlights the tied relationship that the director has intended to establish with the more provocative Ibsenian critics, according to which Hedda could be anything except the character of a proto-martyr of the Decadency ideology. The Ibsenian text – in Calenda’s staging – is haunted by an incestuous ghost between Hedda and her father, the General Gabler, which – in the past – stopped her love to Løvborg, and – in the present – stops her marriage with Tesman (Hedda accepts to marry Tesman, but she keeps her maiden name (Hedda Gabler, not Hedda Tesman)
