Il Castello di Elsinore (E-Journal)
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The Claudio Tolcachir Case. Notes on "Emilia"’s Fortune
No full textClaudio Tolcachir (Buenos Aires, 1975) non è soltanto un teatrista di punta della variegata scena indipendente di Buenos Aires ma figura tra i più affermati uomini di teatro contemporaneo, da cui la recente nomina a direttore della XXIX edizione dell’École des Maîtres 2020. Nel 2005, col debutto della sua prima pièce originale La omisión de la familia Coleman, inizia una irresistibile ascesa che si concreta in tournée e progetti internazionali, tra cui diverse edizioni sceniche del suo quarto testo drammatico Emilia, rappresentato con cast differenti in Argentina, Spagna e Italia, sempre con la regia dell’autore. Il contributo affronta la complessità dell’opera dell’artista porteño, tracciando i segni distintitivi della sua drammaturgia e dei relativi allestimenti, ma facendo anche emergere i limiti della ricezione italiana nella comprensione della sua opera, soprattutto attraverso l’edizione romana di Emilia, dove una impareggiabile Giulia Lazzarini interpreta il ruolo del titolo.Claudio Tolcachir (Buenos Aires, 1975) is not only a leading teatrista of the independent stage in Buenos Aires but is one of the most successful men of contemporary theatre. Indeed he has recently become director of the École des Maîtres 2020. In 2005, thanks to his first piece La omisión de la familia Coleman, he began an irresistible rise with tour and international productions, including several scenic editions of his fourth dramatic text Emilia, performed with different cast in Argentina, Spain and Italy, but always the author as director. The contribution aims to deal with the complex work of the porteño artist, tracing the distinctive signs of his plays (texts and performances), but also highlighting limitations of Italian critic literature to understanding his work, especially through the Roman edition of Emilia, where an incomparable Giulia Lazzarini played the title role
Against "Sire Le Mot": Achille Ricciardi "régisseur" and reformer
Full text linkLo studio si sofferma sul Teatro del Colore di Achille Ricciardi, interpretato da un lato come un’impresa mancata solo sul piano pratico, dall’altro come una proposta estetica nata già vecchia e concepita da un «decadente ossessionato di simbolismo». Si cercherà di moderare quest’ultima linea con l’ausilio di materiale inedito, estratto dal carteggio con d’Annunzio (1911-1921). In esso Ricciardi afferma il principio dell’autonomia dello spettacolo e del régisseur, “mago” della scena, rispetto ai quali la parola svolge un ruolo ancillare. Vi è manifestata, poi, la preoccupazione per il ritardo ormai irrimediabile con cui i suoi esperimenti si affacciavano sulla scena. Una condizione di cui lo sperimentatore, a dispetto dell’opinione comune, fu affatto consapevole. Il carteggio permette, inoltre, di stabilire con più precisione alcune questioni cronologiche e compositive del saggio sul colore, confermando la sua natura ricca di slanci innovatori, ma in alcune parti oscura e contraddittoria.This essay focuses on Achille Ricciardi’s experiment, called Teatro del Colore, which is commonly seen, on the one hand, as a not well-done enterprise, on the other, as an old aesthetic proposal made by a "decadent obsessed with symbolism". The essay will try to weaken this last interpretation with the support of unpublished material, present in the correspondence with d'Annunzio (1911-1921). There, Ricciardi affirms the principle of autonomy of the performance and of the régisseur, with respect to whom the spoken word plays an ancillary role. There, a concern about the irremediable delay with which his experiments appeared on the scene is expressed, too. About this, Ricciardi was fully aware, despite what is commonly understood. The correspondence also allows to establish some chronological and compositional issues of the essay on color more precisely and to confirm its inorganic nature, rich in innovative impulses, but in some parts obscure and contradictory
The dialectic between doubt and faith in the semi-staged version of the "Matthäus-Passion" by Bach with Peter Sellars’staging
Full text linkTra i vari adattamenti teatrali della Matthäus-Passion di Johann Sebastian Bach, merita un’indagine approfondita la recente versione semiscenica curata nel 2010 da Peter Sellars presso la Philharmonie di Berlino. L’allestimento predilige una teatralità interiore, del pensiero molto più che dell’azione, che approfondisce il contrasto tra le ricompense e le frustrazioni che derivano dalla ricerca mistica. L’indagine condotta su alcuni momenti salienti della rappresentazione, in parallelo all’analisi della partitura, evidenzia un’attenzione alla dialettica tra fede e dubbio, poco esplorata dagli studi specifici. Il saggio si focalizza sui tre cori principali dell’opera, sulle arie del contralto, del tenore e sulla scena del trapasso di Cristo. Le scelte di Sellars sottolineano i dettagli di una partitura che spesso preferisce il dubbio all’affermazione, esprimendo la grande sensibilità di Bach per le insicurezze dell’uomo di fronte alle vertiginose altezze del Vangelo.Among the various theatrical adaptations of the Matthäus-Passion by Johann Sebastian Bach, the recent semi-staged version of Peter Sellars from 2010 at the Philharmonie Berlin merits an in-depth study. The staging favors an inner theatricality, of thought much more than action, which investigates the contrast between the rewards and frustrations deriving from mystical quest. The investigation carried out on some of the outstanding moments of the production, together with an analysis of the score, highlights the attention given to the dialectic between doubt and faith, something that has been explored very little in pertinent studies. This work focuses on the three main choruses, the arias of the contralto and tenor and the scene of Christ’s passing. The choices made by Sellars underline the aspects of a work that often chooses doubt over affirmation, expressing Bach’s great sensitivity for man’s insecurities when faced with the lofty heights of the Gospel
To say the crisis. Three centuries of Hamlet in Italy
Full text linkRecensione di Daniele Maria Pegorari, Amleto o lo specchio oscuro della modernità. Tre secoli di riscritture italiane 1705-2019, Metauro Edizioni, Pesaro 2019, pp. 172, ISBN: 978- 88-6156-155-7.Review of Daniele Maria Pegorari, Amleto o lo specchio oscuro della modernità. Tre secoli di riscritture italiane 1705-2019, Metauro Edizioni, Pesaro 2019, pp. 172, ISBN: 978- 88-6156-155-7
Carlo Quartucci, mago bambino. "Il lavoro teatrale" (1969) e l’incontro con Valeriano Gialli
Full text linkIl 31 dicembre 2019 Carlo Quartucci ci ha lasciati. Con lui scompare uno degli ultimi grandi protagonisti di quella stagione del teatro di ricerca italiano. Per ricordarlo, l’articolo si sofferma su un episodio singolo, Il lavoro teatrale del 1969, attraverso la testimonianza di Valeriano Gialli che di quello spettacolo fu uno degli attori. al quale Carlo Quartucci era particolarmente affezionato. Per Quartucci Il lavoro teatrale era tante cose insieme: la seconda collaborazione con Jannis Kounellis, il ritorno alla Biennale di Venezia dopo Zip, l’anticipo di qualcosa che accadrà compiutamente solo con Camion, la sua prima vera comparsa come regista-servo di scena; ma, soprattutto, un gesto di grande libertà di ricerca.On December 31th 2019 Carlo Quartucci died. With him disappears one of the last protagonists of the Italian Research theater. To remind him, the article focuses on a single episode, The theatrical work of 1969, through the testimony of Valeriano Gialli who was one of the actors of that show. to which Carlo Quartucci was particularly fond of. For Quartucci The theatrical work was many things together: the second collaboration with Jannis Kounellis, the return to the Venice Biennale after Zip, the advance of something that will happen completely only with Camion, his first real appearance as a director-stage servant; but above all, a gesture of great freedom of research
Ambiguità e doppiezza del Prometeo eschileo
Full text linkThis essay, an examination of Aeschylus’ “Prometheus Bound”, is an attempt to move away from the traditional approach to the play, which has tended to exalt the character of Prometheus as a benefactor of humanity, against the tyrannical power of Zeus. Starting from a close reading of vv. 204-236, with the support of a concordance to Aeschylus’ play, Alonge focuses his attention on the ambiguity and the duplicity of Prometheus, who offers to become a king-maker at Zeus’ service only because his brothers the Titans refused to recognize him as their leader.This essay, an examination of Aeschylus’ “Prometheus Bound”, is an attempt to move away from the traditional approach to the play, which has tended to exalt the character of Prometheus as a benefactor of humanity, against the tyrannical power of Zeus. Starting from a close reading of vv. 204-236, with the support of a concordance to Aeschylus’ play, Alonge focuses his attention on the ambiguity and the duplicity of Prometheus, who offers to become a king-maker at Zeus’ service only because his brothers the Titans refused to recognize him as their leader
The “Diasporic Theatre” from nostalgia to contemporary socio-politics: reimagining identity in some contemporary Black and Asian British playwrights
Full text linkBritish theatre has undergone dramatic changes over the last few decades, which mirror the enormous changes in British society. In particular, since the 1980s there has been an increasing number of Black and Asian playwrights working in and writing about Britain. This article will focus on the diasporic theatre of such writers as Tanika Gupta, Roy Williams and Kwame Kwei-Armah, a kind of theatre which attempts to redefine British identity through a “hybridisation” of the theatrical discourse.British theatre has undergone dramatic changes over the last few decades, which mirror the enormous changes in British society. In particular, since the 1980s there has been an increasing number of Black and Asian playwrights working in and writing about Britain. This article will focus on the diasporic theatre of such writers as Tanika Gupta, Roy Williams and Kwame Kwei-Armah, a kind of theatre which attempts to redefine British identity through a “hybridisation” of the theatrical discourse
Palazzeschi drammaturgo e precursore del teatro sintetico
Full text linkBased on a careful analysis of Palazzeschi’s works and of the correspondence between him and Marinetti, the essay casts a new light on the origin of futurist synthetic theatre. With his prose and verses Palazzeschi is in fact the first to make use of synthetic writing and to bring a fulmineous dialogic form within the Futurism; he also develops a grotesque way to futurist theatre and between 1910 and 1911 plans to write a collection of Futurist Dramas, some elements of which can be found in some short proses published afterwards by the author.Based on a careful analysis of Palazzeschi’s works and of the correspondence between him and Marinetti, the essay casts a new light on the origin of futurist synthetic theatre. With his prose and verses Palazzeschi is in fact the first to make use of synthetic writing and to bring a fulmineous dialogic form within the Futurism; he also develops a grotesque way to futurist theatre and between 1910 and 1911 plans to write a collection of Futurist Dramas, some elements of which can be found in some short proses published afterwards by the author