Il Castello di Elsinore (E-Journal)
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"Le Retour de la villégiature", III, 2 dans le triangle Strehler-Missiroli-Castri
Full text linkStarting from the second scene of the third act of Goldoni’s “Il ritorno dalla villeggiatura”, this paper deals with the perception that the most outstanding men of the Italian theatre – Giorgio Strehler, Mario Missiroli, Massimo Castri – had of Goldoni’s masterpiece in the last decades of the 20th century. We can identify three different modes of staging, which represent a starting point for a new scenic tradition in Goldoni.Starting from the second scene of the third act of Goldoni’s “Il ritorno dalla villeggiatura”, this paper deals with the perception that the most outstanding men of the Italian theatre – Giorgio Strehler, Mario Missiroli, Massimo Castri – had of Goldoni’s masterpiece in the last decades of the 20th century. We can identify three different modes of staging, which represent a starting point for a new scenic tradition in Goldoni
Cinque cortesi trappole per topi. Immagine, "phonè" e immaginazione nelle "mises en abyme" del teatro barocco
Full text linkThe essay analyzes the forms of mise en abyme and dumb-show adopted in different culture of European theatre in the course of the first part of the seventeenth century. Discusses the following texts and performances: Hamlet, A midsummer night’s dream, Pericles, Prince of Tyre of Shakespeare; El Retablo de las Maravillas of Cervantes; Li due Covielli and Fontana di Trevi of Gian Lorenzo Bernini. Inside of these works, the analysis concerns especially the phenomena of relations between evocative force of the word and artifice of the visual scene.The essay analyzes the forms of mise en abyme and dumb-show adopted in different culture of European theatre in the course of the first part of the seventeenth century. Discusses the following texts and performances: Hamlet, A midsummer night’s dream, Pericles, Prince of Tyre of Shakespeare; El Retablo de las Maravillas of Cervantes; Li due Covielli and Fontana di Trevi of Gian Lorenzo Bernini. Inside of these works, the analysis concerns especially the phenomena of relations between evocative force of the word and artifice of the visual scene
Una rilettura pirandelliana: "Il giuoco delle parti"
Full text linkThe author, in this essay, intend to analyze Pirandello’s Il giuoco delle parti with those exegetical instruments that have as main focus to spot, in the work of art, allegorical cruces and situations. These instruments have been used for the first time by Walter Benjamin, especially in Ursprung des deutschen Trauerspiels, and then developed in Italy by Romano Luperini. The egg metaphor, already appearing in the first act, allows the author of this essay, who considers it strongly allegorical, to go through the pirandellian play, its characters, its situations, with the aim of pulling out its revolutionary strenght, aimed not only to theater but to the whole world of art contemporaneous with him.The author, in this essay, intend to analyze Pirandello’s Il giuoco delle parti with those exegetical instruments that have as main focus to spot, in the work of art, allegorical cruces and situations. These instruments have been used for the first time by Walter Benjamin, especially in Ursprung des deutschen Trauerspiels, and then developed in Italy by Romano Luperini. The egg metaphor, already appearing in the first act, allows the author of this essay, who considers it strongly allegorical, to go through the pirandellian play, its characters, its situations, with the aim of pulling out its revolutionary strenght, aimed not only to theater but to the whole world of art contemporaneous with him
Storia di Iudith da Betulia a Firenze
Full text linkThis essay is inspired by one of Roberto Alonge’s former works and it deals about the successful path of Judith’s myth, from the essential biblical episode to its triumphant presence on the baroque scene, both theatrical, melodramatic and pictorial: that Passion that leads the widow of Betulia to identify with Christ, without depriving her of the most human meanings and passions (felt or caused). The nether theme aims directly at one of the basic issue in the culture of the Humanism and the Renaissance but, more specifically, of the Baroque and its counter-reformist meanings: the issue regarding the compatibility between the ancient biblical and pagan inventions with the statements of the Christianity (and the allowance of its eventual fantasies). Florence between the Republic and the Princedom represents the privileged gaze to evaluate the incredible versatility of this myth in the arts.This essay is inspired by one of Roberto Alonge’s former works and it deals about the successful path of Judith’s myth, from the essential biblical episode to its triumphant presence on the baroque scene, both theatrical, melodramatic and pictorial: that Passion that leads the widow of Betulia to identify with Christ, without depriving her of the most human meanings and passions (felt or caused). The nether theme aims directly at one of the basic issue in the culture of the Humanism and the Renaissance but, more specifically, of the Baroque and its counter-reformist meanings: the issue regarding the compatibility between the ancient biblical and pagan inventions with the statements of the Christianity (and the allowance of its eventual fantasies). Florence between the Republic and the Princedom represents the privileged gaze to evaluate the incredible versatility of this myth in the arts
Strindberg nel teatro italiano del XXI secolo
Full text linkStarting from Ett drömspel, staged by Luca Ronconi, in February 2000, this paper deals with the perception that the outstanding men of the Italian theatre – especially Massimo Castri, Marco Bernardi, Armando Pugliese, Gabriele Lavia, Walter Malosti etc. – had of Strindberg’s works in the first decade of the 21st century: some interpreting them in a modernistic, up-to-date manner, some preferring to approach them in a more audaciously post-modern view. In the end, for the Italian theatre, Strindberg proves to be not in the least an established classic author to reckon with, but the testing ground of complex reflections on modernity.Starting from Ett drömspel, staged by Luca Ronconi, in February 2000, this paper deals with the perception that the outstanding men of the Italian theatre – especially Massimo Castri, Marco Bernardi, Armando Pugliese, Gabriele Lavia, Walter Malosti etc. – had of Strindberg’s works in the first decade of the 21st century: some interpreting them in a modernistic, up-to-date manner, some preferring to approach them in a more audaciously post-modern view. In the end, for the Italian theatre, Strindberg proves to be not in the least an established classic author to reckon with, but the testing ground of complex reflections on modernity
Carlo Coralli: dalle scene filodrammatiche alla Comédie-Italienne
Full text linkThis paper traces Carlo Coralli’s biographical and artistic path, from his training in the aristocratic circle of the “amateur” Francesco Albergati Capacelli to his recruitment in Paris at the Comédie-Italienne as a substitute for the famous Harlequin Carlo Bertinazzi. After a presentation of Coralli’s first acting experiences in Italy, the essay reconstructs his inclusion in the famous French troupe with his Parisian debut and presents some of his most significant shows.Il saggio ripercorre la vicenda biografica e artistica del bolognese Carlo Coralli, dalla formazione nel circolo nobiliare del “dilettante” Francesco Albergati Capacelli fino al suo arruolamento a Parigi alla Comédie-Italienne come sostituto del celebre Arlecchino Carlo Bertinazzi. Dopo una presentazione delle prime esperienze attoriche di Coralli in Italia, il saggio ricostruisce il suo inserimento nella celebre troupe francese con il suo debutto parigino e presenta alcuni dei suoi spettacoli più significativi
The Stepanov notation. First notes
No full textL’articolo spiega gli snodi fondamentali del sistema di notazione del movimento del corpo umano inventato nel 1891 dal ballerino del teatro Mariinskij di San Pietroburgo, Vladimir Ivanovič Stepanov. Si tratta di un sistema attraverso cui, in un periodo compreso tra la fine dell’Ottocento e l’inizio del Novecento, sono stati trascritti parecchi balletti, talvolta veri e propri capolavori, e che ci permette pertanto di ricostruire oggi coreografie altrimenti perdute. Più che sul manuale, assai criptico, pubblicato in francese da Stepanov stesso, l’Alphabet des mouvements du corps humain (1892), l’analisi è compiuta sul volume edito pochi anni dopo dal coreografo dei Teatri Imperiali russi Aleksandr Alekseevič Gorskij, Notazione per la registrazione dei movimenti del corpo umano (1899).The article explains the fundamental points of the human body movement notation system invented in 1891 by the dancer of the Mariinsky Theater in St. Petersburg, Vladimir Ivanovich Stepanov. It is a system through which, in a period between the end of the 1800s and the beginning of the 1900s, several ballets, sometimes real masterpieces, were transcribed, allowing us to reconstruct otherwise lost choreographies. Rather than on the cryptic manual, published in French by Stepanov himself,namely the Alphabet des mouvements du corps humain (1892), the analysis is carried out on the volume published a few years later by the choreographer of the Russian Imperial Theaters Alexander Alexeyevich Gorsky, Table of signs for the recording of the movements of the human body (1899)
Il costo e il gratuito nel teatro di Eduardo De Filippo: "Non ti pago", "Filumena Marturano", "L’arte della commedia"
Full text linkThe theme of cost and free runs through Eduardo De Filippo’s plays as one of the red threads it is woven with, with different fineness and weaves but always semantically pregnant. The three aforesaid plays belong to three different stages in Eduardo De Filippo’s intensive career as a playwright – Non ti pago! (1940), Filumena Marturano (1946), L’arte della commedia (1961) –, from the “Cantata dei giorni pari” to the “Cantata dei giorni dispari”. So, they also offer an opportunity to explore the dimensions of a theme that, under the (not negligible) cloak of a financial transaction, embodies anthropological, ethical and symbolical values: from the title line in Non ti pago (“I won’t pay you”), hinting at the typical Neapolitan dream-trading custom that is the lottery, to the climaxing line in Filumena (“Children are not for sale”), which expresses the universal feel of a Medea the other way around, through to the prepaid expulsion order, which is decorously turned down by Campese, the actor-manager who engages the short-sighted Authority (both ancient and modern) in a fight by “coups de theatre” that create havoc and call for the endorsement not just of the art of comedy, but of the very value of culture as well.The theme of cost and free runs through Eduardo De Filippo’s plays as one of the red threads it is woven with, with different fineness and weaves but always semantically pregnant. The three aforesaid plays belong to three different stages in Eduardo De Filippo’s intensive career as a playwright – Non ti pago! (1940), Filumena Marturano (1946), L’arte della commedia (1961) –, from the “Cantata dei giorni pari” to the “Cantata dei giorni dispari”. So, they also offer an opportunity to explore the dimensions of a theme that, under the (not negligible) cloak of a financial transaction, embodies anthropological, ethical and symbolical values: from the title line in Non ti pago (“I won’t pay you”), hinting at the typical Neapolitan dream-trading custom that is the lottery, to the climaxing line in Filumena (“Children are not for sale”), which expresses the universal feel of a Medea the other way around, through to the prepaid expulsion order, which is decorously turned down by Campese, the actor-manager who engages the short-sighted Authority (both ancient and modern) in a fight by “coups de theatre” that create havoc and call for the endorsement not just of the art of comedy, but of the very value of culture as well