Il Castello di Elsinore (E-Journal)
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Siding with Ismene: Pale Sister by Colm Tóibín (2019)
Full text linkPale Sister di Colm Tóibín (2019) è il titolo di una delle più recenti riletture di Antigone in chiave contemporanea da parte di uno scrittore irlandese. Incentrato sulla figura di Ismene, di cui Tóibín prende le difese, Pale Sister è un monologo teatrale in cui il buonsenso e la pacatezza di Ismene prevalgono sull’intransigenza di Antigone. Riflettendo su fatti di cronaca recenti e sul dilagare di una comunicazione sempre meno efficiente, questo primo esperimento teatrale di Tóibín propone un esempio di drammaturgia impegnata in cui evoluzione e movimento sono affidati alla pratica sapiente di un’articolata politica del silenzio. L’articolo approfondisce il rapporto tra silenzio, paura e memoria a partire dall’uso dei silenzi in Pale Sister selezionando tre brani, qui proposti in traduzione italiana.Pale Sister by Colm Tóibín (2019) is the title of one of Ireland’s most recent rewritings of Sophocles’ Antigone. Centred on Ismene, this dramatic monologue takes sides with Antigone’s sister and with her moderate and tolerant attitude. Tóibín responds to recent events and to the contemporary failure of communication, a worrying phenomenon characterising the times in which we live. This debut play is a fine example of a kind of theatre that is revolutionary, and whose expression relies on the use and 103 abuse of silence. This study focuses on the use of silence in Tóibín’s Pale Sister, of which three relevant sections are presented here in translation
Nietzsche and Artaud in comparison: the concept of amor fati and the figure of the “Overman” in the theatre of cruelty
Full text linkL’articolo si propone di analizzare la teatrologia artaudiana alla luce del suo retroterra filosofico nietscheano, partendo dalla valorizzazione del dionisiaco che, nonostante sia espressione di una realtà difficile da sopportare, risulta indispensabile al fine di attingere le forze vitali. Queste ultime assicurano all’uomo che sia capace di manipolarle e che quindi abbia un’attitudine eroica, una libertà vera, una libertà che, facendo tutt’uno con la necessità, corrisponde all’amor fati.The article aims to analyse the artaudian theatrology in the light of its philosophical nietzschean background, beginning with the enhancement of the dionysian who, despite being an expression of a difficult reality to bear, appears to be indispensable to the vital forces. The man who is able to manipulate these forces is truly free and therefore shows a heroic attitude: man becomes the holder of true freedom which, by making himself at one with necessity, corresponds to amor fati
Itinerarium mentis in nihil
Full text linkThe author reconstructs the topos of Six characters in search of an author which is present in Pirandello's works in the span of time from 1897 to the unfinished The giants of the Mountain (in his theatrical works as well as in his novels and short stories). The decisive contribution concerns the symbolic decodification of the said topos. By means of the onomastic scan (a form which Pirandello takes both from Filone of Alexandria and Middle Ages allegorical procedures), Umberto Artioli goes back to the secret sources of the Sicilian dramatist and one prevails above all. Serafino Gubbio, the protagonist of Camera! [Si gira], refers to the six-winged angel (the Seraphim to be exact), on which Bonaventura exemplified, in his famous Itinerarium mentis in Deum, the ascending gradatio. And not only: the medieval text is even the palimpsest on which Pirandellorewrites his own novel, according to the plans which remind Joyce's Odyssey rewriting
Un Étourdi inglese di strepitoso successo
Full text linkJohn Dryden, one of the greatest playwrights of the Restoration age, adapted the play by Molière L’Étourdi ou les Contretemps (which in turn was an adaptation of L’inavertito by Nicolò Barbieri), turning it into a highly farcical comedy, Sir Martin Mar-all, attuned to the flippant and saucy tastes and culture of the Restoration audience. Dryden’s play is hardly a masterpiece. But it is an amusing pochade that anticipates some of the features which later will be typical of the “comedy of manners”, the gem of the English theatre of the second half of the seventeenth century
Acting school, final essay: Chekhov, impossible loves
Full text linkRoberto Alonge reviews the final essay of an amateur theater acting school in Livorno, “Vertigo”, pre- sented in June 2022, visible on You tube (https://youtu.be/2WomPK03V4c). The essay presents a num- ber of scenes from Chekhov’s masterpieces but the overall title of the operation (Chekhov, impossible loves), immediately makes evident the search for a new approach to the image that critical literature has given us: no longer characters who are always losers, devoid of energy, bloodless, but a rich gallery of enchanting female figures (ill-married dissatisfied by the quivering carnality, passionate and hysterical forty-year-olds) in front of which are insecure males, always very ridiculous, inadequate and unable to grasp the suffering of women, as an inevitable fact in a society built by males for males. Alonge dwells in particular on the fragment of Uncle Vanja, where the young actors Giulia Socci and Leonardo Demi seem very interesting to him in the roles of Elena Andreevna and Doctor Astrov, even newer and more vital than in many performances of professional Italian theatre
Un nuovo paradosso di Diderot
Full text linkIn this paper, Matilde Ghelardini reviews a recent and new Italian translation of Paradoxe sur le comédien by Diderot, edited by Valentina Sperotto and Andrea Tagliapietra, published by InSchibboleth
In the abysses of the naturalistic scene
Full text linkIn his mise en scène of Cechov's Seagull, the director Massimo Castri seems to shoot the story with a movie-camera. There is corrispondence between the different acts and as in many film shots: beginning with external shots, then progressively moving back to internal shots of the house
Towards the Koltès work-shop
Full text linkDopo il precedente lavoro dedicato a La notte poco prima della foresta, l’autore torna a sondare i rapporti e le modalità con cui nell’opera di Koltès si intrecciano elementi biografici e scrittura teatrale. L’autore si serve dell’epistolario e delle interviste del drammaturgo francese per individuare le fonti biografiche di personaggi e luoghi della pièce Combattimento di negro e cani: attraverso un procedimento metaforico e allegorico, l’idea di metamorfosi diventa motore drammaturgico e cifra stilistica caratterizzante l’opera di Koltès.After his previous work dedicated to Night just before the Forests, the author returns to exploring the relations between Koltès biographical elements and theatrical writing and how they intertwine in French dramatist's plays. The author employs the French playwright epistolary and interviews to identify characters biographical sources and places references in the pièce Black Battles with Dogs: through a metaphorical and allegorical process, the idea of metamorphosis becomes dramaturgical driving force and signature style characterizing Koltès wok
Massimo Castri, a director-professor
Full text linkRoberto Alonge’s essay – presented as an introductory report at the conference organized by the Uni- versity and the Teatro Stabile of Turin (25-26 May 2023), on the tenth anniversary of Massimo Castri’s death – reconstructs the creative path of one of the greatest exponents of the contemporary Italian scene. The originality of his method lies in a preliminary work of critical excavation of the text, which is typical of the university professor, followed later by the actual directing work, which is properly the creation of images, organized in an organic system that conveys the interpretative key that the director offers of the staged text. A practice well exemplified by the books published by Castri on Pirandello and Ibsen, two of the authors who return most frequently in the director’s choices, together with Euripides and Goldoni. The system of images created by the director are never simply illustrative of what appears as the surface of the text, but reveal the secret of the text, as demonstrated by Castri’s first significant staging, Vestire gli ignudi by Pirandello (1976): a work that is not a melodramatic text, as it has always appeared to the critics, but a cruel Strindbergian chamber drama, which opposes male violence to the female victim’s destiny