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Freaks: tra anormalità e deviazione. Nascite mostruose e fenomeni umani dall’uomo-gallina al circo di Barnum
Get PDFThe essay focuses on the theme of natural teratology, or the study of deformities, and above all on the positive figure of the freak, which I am going to analyze from a social and spectacular point of view. The analysis will go on probing the territories of the bizarre and the marvelous as presented by the Great American Museum of Barnum.The essay focuses on the theme of natural teratology, or the study of deformities, and above all on the positive figure of the freak, which I am going to analyze from a social and spectacular point of view. The analysis will go on probing the territories of the bizarre and the marvelous as presented by the Great American Museum of Barnum
Cultural appropriation and theatre. Rethinking aesthetics, starting with the case of Robert Lepage’s Kanata
Get PDFObserving the phenomenon of cultural appropriation in a case of theatre: Kanata the controversial spectacle by the Québecois Robert Lepage raises issues of aesthetics. The specific cultural, political and social context, together with the singularity of theatre as an art form, makes this a unique case study shedding light on that phenomenon and causing us to rethink some long-standing principles of aesthetics.Observing the phenomenon of cultural appropriation in a case of theatre: Kanata the controversial spectacle by the Québecois Robert Lepage raises issues of aesthetics. The specific cultural, political and social context, together with the singularity of theatre as an art form, makes this a unique case study shedding light on that phenomenon and causing us to rethink some long-standing principles of aesthetics
L’unica risposta è la prossima domanda. L’esperienza teatrale e il suo mistero: conversazione fra Denis Diderot e Carmelo Rifici
Get PDFThis interview with Carmelo Rifici, Drama School Director of the Piccolo Teatro di Milano and award-winning theatrical director, discuss on the relationship between some thesis of theatrical aesthetics of the 18th century philosophe Denis Diderot, enclosed in their most complete way in the work Paradox of the actor, and the contemporary reflection on theatre, but also the practice of acting itself.
How much does Diderot\u27s thought still question and stimulate the debate on the experience of theatre in its various themes? Without neglecting the contents of this thought, on which 20th century theatre has been questioned a lot and which also emerge in all their facets and possible developments in the interview, during the interesting conversation with Rifici it appears that the true modernity of diderotian reflection and its still generating force today, lies in its asystematic character, in the search for paradox, for perennial question, as a fundamental element for preserving the theatre and its "mystery". It is necessary asking others and themselves questions rather than defining solutions, to restore the theatrical experience, which is the experience of an event, in all its complexity, in diderotian theatrical theory as well as in modern acting practice.This interview with Carmelo Rifici, Drama School Director of the Piccolo Teatro di Milano and award-winning theatrical director, discuss on the relationship between some thesis of theatrical aesthetics of the 18th century philosophe Denis Diderot, enclosed in their most complete way in the work Paradox of the actor, and the contemporary reflection on theatre, but also the practice of acting itself.
How much does Diderot\u27s thought still question and stimulate the debate on the experience of theatre in its various themes? Without neglecting the contents of this thought, on which 20th century theatre has been questioned a lot and which also emerge in all their facets and possible developments in the interview, during the interesting conversation with Rifici it appears that the true modernity of diderotian reflection and its still generating force today, lies in its asystematic character, in the search for paradox, for perennial question, as a fundamental element for preserving the theatre and its "mystery". It is necessary asking others and themselves questions rather than defining solutions, to restore the theatrical experience, which is the experience of an event, in all its complexity, in diderotian theatrical theory as well as in modern acting practice
Théâtre jeunesse tra Francia e Italia: esperienze editoriali
No full textOur analysis compares French and Italian theatre for young people, and focuses on differences between the two, especially when it comes to publishing plays for young audience. While France has been supporting the publication of plays for young audiences since the late 1980s, involving a growing number of publishing houses, Italy is still showing modest interest in publishing plays for young people, as our investigation shows
Théâtre/Roman : Titus n’aimait pas Bérénice, de Nathalie Azoulai (prix Médicis 2015)
Get PDFA novelistic rewriting of Racine’s tragedy, which projects the character Berenice into our time while killing Titus, this novel by Nathalie Azoulai lends itself to a narratological analysis that describes the different modalities of the intermedial transposition here at work. Beyond this formalist approach, however, it is worth considering the meaning of this transmodalisation: a tribute from the novel to the theatre, this story is above all a romanticized biography of Racine and thus plays on genres. But the interlocking of the two levels of fiction and the hypertrophy of metapoetic discourse are here lures that mask the reverence of postmodernity to classicism, opposing the majesty of style to the sloppy of contemporary autofiction.
Racine, Nathalie Azoulai, intermedial transposition, transmodalisatio
Senso e sensi: per un teatro politico emozionale postbrechtiano
Get PDFThe paper aims to analyse the possibilities of an emotional political theatre, which finds its roots in poetry of Artaud’s rather than Brecht’s. Two stagings of Christopher Marlowe’s The Massacre at Paris are analysed: the first directed by Patrice Chéreau at the Théâtre National Populaire in 1972 (Massacre à Paris) and the second by Ricci/Forte staged in 2016 (La strage di Parigi). Despite the aesthetic and time differences both staging aim to actualise Marlowe’s play through sensorial stimulation (smell and touch) and allusions to contemporary ideological murders
Le Théâtre des possibles, une esthétique du potentiel
No full textThis study examines two examples of theatrical performances that create potential dramaturgies by constructing multiple narratives. In his “in kit” works French director Philippe Quesne establishes a “parliament” of things where the spectators can marvel at the surrounding world, while in the joyful theatre of the Flemish company De KOE multiple fictions are capable of reinventing, or even re-enchanting our present.
 
In Search of the Lost (Female) Dramaturgs
Get PDFMost of the academic articles that look at the development of 20th century Italian women’s theatre begin with a discussion of the dramatic works of narrators such as Natalia Ginzburg and Dacia Maraini, or performers such as Franca Valeri and Franca Rame. In this article, I claim that an alternative path for the discovery of Italian women playwrights can be found by visiting libraries and archives and looking for women dramatists as authors of theatrical genres often considered minor: radio dramas and the educational plays. After an analysis of the two genres, I look at the careers of three women playwrights that started as writers for radio or educational plays and went on to have successful careers in TV adaptations (Anna Luisa Meneghini), children’s theatre (Gici Ganzini Granata) and the major theatre (Clotilde Masci)
Pour une réception dynamique. Théories et œuvres du XXe siècle
Get PDFDuring the 20th century, political theatre urges the spectator to perform the duties of a “model” citizen. Through the analysis of the dynamism theory established by Luigi Nono in his musical theatre, this study tries to recognize the aesthetic potential of a “dynamic reception” that aims at making place for a political spectator
L’Avversario. Carrère’s Novel in the Scenic Adaptation by Invisibile Kollettivo
Get PDFThe paper aims to illustrate the Italian play L’Avversario, a work by Invisibile Kollettivo that tries to translate into a theatrical show the roman written by the French author Emmanuel Carrère.
Both in the roman and in the play the most important aspect is the author’s point of view together with his feelings. This results quite normal referring to a book, but it is way too original in a theatrical play. So, the paper tries to explain the motivation that moved the Italian artists to stay loyal to the spirit of the book, choosing the form of the scenic reading for bringing it on stage.
Theatre, Carrère, Lettura scenica, Teatro dell’Elfo, Invisibile Kollettiv