Il Castello di Elsinore (E-Journal)
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A Chronological Prospectus of Dramatic Works by Vitaliano Trevisan
Full text linkL’articolo offre una cronologia completa delle opere teatrali di Vitaliano Trevisan, comprensiva delle date dei suoi lavori editi e inediti oltre che dei principali allestimenti effettuati. L’obiettivo è quello di fornire agli studiosi uno strumento utile per approfondire una zona scarsamente analizzata della produzione dello scrittore vicentino.The paper offers a complete chronology of Vitaliano Trevisan’s theatrical production, including dates for published and unpublished works and principal stage productions. The purpose is to provide researchers with a useful tool for examining a scarcely studied area of the Vicentine writer’s production
Fleshless and voiceless Antigone. Thebes at the time of yellow fever, by Odin Teatret. . A heroine as a pure image of beauty, eros and death.
Full text linkTebe al tempo della febbre gialla dell’Odin Teatret mette in scena Antigone come pura immagine di bellezza, eros e morte, senza carne e senza voce. È l’immagine della Madonna di Munch. Tale raffigurazione non rimanda all’interpretazione hegeliana di Antigone come pura essenza etica ma è in accordo con l’interpretazione data da Lacan che legge il personaggio in relazione al funzionamento del desiderio: Antigone non difende i sacri diritti della famiglia ma segue la direzione della sua passione, verso la morte. Quando in Tebe al tempo della febbre gialla il ritratto di Antigone viene collocato sull’immagine del Cristo giallo di Gauguin si compie la trasfigurazione del personaggio in simbolo di pietà religiosa. La donna sensuale innamorata del fratello e della morte, nata dall’incesto di Edipo e Giocasta e segnata dalla maledizione del padre, diviene la nobile eroina – pura sostanza etica dell’interpretazione hegeliana – pronta a sacrificare la vita per difendere i legami di sangue e il culto dei morti.Thebes at the time yellow fever by Odin Teatret stages Antigone as a pure image of beauty, eros and death, without flesh and without voice. She is the image of Munch’s Madonna. This depiction does not refer to the Hegelian interpretation of Antigone as pure ethical essence but agrees with the interpreta- tion given by Lacan who reads the character in relation to the functioning of desire: Antigone does not defend the sacred rights of the family but follows the direction of her passion, toward death. When in Thebes at the Time of yellow fever the portrait of Antigone is placed on the image of Gauguin’s Yellow Christ, the transfiguration of the character into a symbol of religious piety is accomplished. The sensual woman in love both with her brother and death, born of Oedipus and Jocasta’s incest and marked by her father’s curse, becomes the noble heroine – pure ethical substance of the Hegelian interpretation – ready to sacrifice her life to defend blood ties and the cult of the dead
Calaf e Nadir dal Caspio all’India (1762-1867)
Full text linkThis article studies the adventures of Calaf and Nadir, leading actors of the «fiaba chinese teatrale tragicomica» by Carlo Gozzi (Turandot, Venice, San Samuele theatre, 22 january 1762) and of the Italian opera Turanda by Antonio Gazzoletti and Antonio Bazzini (Milan, Scala, 13 january 1867), with the German versions from Werthes (1777) to Schiller (Turandot, Prinzessin von China, ein tragikomisches Märchen nach Gozzi, 1802-1865).L’articolo segue le avventure di Calaf e Nadir, protagonisti della «fiaba chinese teatrale tragicomica» di Carlo Gozzi (Turandot, Venezia, teatro San Samuele, 22 gennaio 1762) e dell’opera Turanda di Antonio Gazzoletti e Antonio Bazzini (Milano, teatro alla Scala, 13 gennaio 1867), passando per le traduzioni tedesche da Werthes (1777) a Schiller (Turandot, Prinzessin von China, ein tragikomisches Märchen nach Gozzi, 1802-1865)
The model of naturalist acting in Pirandello's dramaturgy
No full textStarting from the Naturalism' ideal acting, Pirandello came to aconception - particularly manifest in the last period of his dramaturgy - which seems to presage the mise en scène without the actor participation, by resorting to puppets or marionettes which come to life and act the theatrical text by themselves. In any case the actor behaviour assumes - according to Claudio Vicentini - the possession peculiarities, and the performance turns into a rite in which the actor, as an officiant, uttering the text clauses, si able to evoke the charactersdirectly, in visible forms which appear not only in him, but also around him
Objects in search of an author
No full textDuring the Twenties, a growing interest in the objects universe starts to emerge in the Pirandellian dramaturgy. These objects are taken as the symbolic referent to a complete frame of creative investments and imaginary projections. There are frequent references to the inner life of objects, that, in this way, are rescued from a reassuring everyday banality in order to acquire a disquieting presence and get into the scenic play as dramatis persona. From the futurist «drama of objects» to the trasgressive and upsetting figure of Double, Pirandello explores the poetic values of the objects universe in all the variety of their implications, including deep-symbolic ones; and he accomplishes this research, especially in the later works, moving towards the recovery of oneiric and imaginary elements, with surrealistic and metaphysical origin
«Ghosts», Zacconi and a general agent: translator, adapter (and also a dramatist)
No full textIbsen's Ghosts, in Ermate Zacconi's legendary interpretation, which was strongly criticized by the Italian intellectuals of the Twenties (Silvio d'Amico, Gobetti, etc.) is presented as the drama of Oswald's bodily destruction instead of a merely psycological drama. The author illustrates how - preliminarily to al Zacconi's Lombrosian-positivistic poetics - it is Enrico Polese's translation (a real adventurer in the Italian scene between nineteenth and twentieth century), which was chosen by Zacconi, led him to adopt this interpretative approach, which is a translation-reduction-adaptation that is almost a direction plan, suitably designed for the actor's theatre
The impresario Giacomo Lwow and the Russian theatre in Italy
Full text linkQuesto contributo ricostruisce, per la prima volta, l’operato dell’avvocato e impresario Giacomo Lwow (Jakov L’vovič Rozenštejn, 1886-1939) in Italia. Nato a Tiflis (attuale Georgia) in una famiglia di origine ebraica, emigrò in Italia nel 1922 e, con il suo fiuto per gli affari, riuscì a costruirsi una nicchia di prestigio nello spettacolo italiano degli Anni Venti e Trenta. Fu l’abilissimo manager di Tatiana Pavlova e poi l’amministratore della Compagnia Kiki Palmer. Oltre all’organizzazione delle tournée in Italia di importanti compagnie straniere (es. il Gruppo di Praga), è stato anche un apprezzato traduttore, giornalista e conferenziere.This article reconstructs, for the first time, the work of the lawyer and impresario Giacomo Lwow (Jakov Lvovich Rozenshtein, 1886-1939) in Italy. Born in Tiflis (now Georgia) in a family of Jewish origin, he emigrated to Italy in 1922: with his nose for business, he was able to build a prestigious career in the Italian theatre of the 1920s and the 1930s. He was the skilled manager of Tatiana Pavlova and, then, the administrator of the Kiki Palmer Company. He organized the tours in Italy of many foreign troupes (eg. the Prague Group); moreover, he was also an appreciated translator, journalist and lecturer
Salvatore Viganò’s "Prometeo": «The very great resource of all the managers»
Full text linkIl saggio indaga le relazioni fra teatro e danza nel primo Ottocento attraverso l’analisi delle diverse messe in scene del Prometeo a partire dalla versione danzata allestita e coreografata da Salvatore Viganò alla Scala di Milano nella primavera del 1813. All’indomani del successo del ballo, vengono prodotte trasposizioni in versi e pantomima del medesimo soggetto. Tali versioni, dichiaratamente ispirate al lavoro viganoviano, rimangono sulle scene decisamente più a lungo di quelle esclusivamente danzate, girando tra le compagnie italiane e divenendo una fonte di sicuro successo, e guadagno, per i capocomici.The essay investigates the relationship between theatre and dance in the early Nineteenth-Century through the analysis of the various staging of the Prometheus starting from the dance version set up and choreographed by Salvatore Viganò at the Scala in Milan in the spring of 1813. In the aftermath of the success of the ballet, transpositions into verse and pantomime of the same subject are produced. These versions, openly inspired by the Viganovian one, remain on the scene much longer than the exclusively danced ones, touring among the Italian companies and becoming a source of sure success, and profit, for the comedians
The origins of seminar. Theatre Laboratory as new production system
Full text linkNei primi anni Sessanta, in area scandinava, le accademie d’arte drammatica istituzionali adottavano metodi pedagogici obsoleti. Nel 1966 l’Odin Teatret guidato da Eugenio Barba si trasferisce da Oslo nel piccolo centro danese di Holstebro e introduce il termine “teatro-laboratorio”. Sostenuti dalla giunta comunale e dall’interesse per la pedagogia teatrale di Christian Ludvigsen e di altri studiosi danesi, Eugenio Barba e i suoi attori creano un sistema di produzione mai sperimentato fino ad allora, che unisce l’aspetto pedagogico alla creazione di spettacoli. Il saggio esamina la nascita, l’intensificazione e gli sviluppi della pratica del seminario in ambito teatrale, volendone sottolineare l’importanza sul piano pedagogico, artistico e produttivo. Oltre ad alcune conversazioni con Eugenio Barba e a una ricca bibliografia di riferimento, la ricerca si è svolta anche attraverso la consultazione di materiale d’archivio inedito presente negli OTA (Odin Teatret Archives).In the early 1960s, in the Scandinavian area, the institutional academies of dramatic art adopted obsolete pedagogical methods. In 1966, Odin Teatret moved from Oslo to the small Danish town of Holstebro and introduced the term "theatre-laboratory". Supported by the city council and by the interest in theatrical pedagogy of Christian Ludvigsen and other Danish scholars, Eugenio Barba and his actors create a production system never experienced before, which combines the pedagogical aspect with the creation of performances. The essay examines the birth, intensification and developments of the practice of the seminar in the theatre, wanting to emphasize its importance on the pedagogical, artistic and productive levels. In addition to some conversations with Eugenio Barba and a rich reference bibliography, the research was also carried out through the consultation of unpublished archive material present in the OTA (Odin Teatret Archives)