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I gradini di Dioniso. Il ruolo della critica nella formazione degli spettatori
Get PDFThe first and fundamental experience as a theatre spectator usually happens during high school period. How do we make this first encounter as effective as possible? The project Acrobazie Critiche, supported by Fondazione Cariplo and targeting some high schools in Milan, aims to increase students’ awareness as spectators through their active participation and knowledge of dramatic theory. This paper examines premises, objectives and results of the project
Pratiche di responsabilità ed estetica della decontaminazione nel lavoro del Reflektor Teatar
Get PDFThe article focuses on the work of the Serbian theatrical company Reflektor Teatar. Through the analysis of Macho Men, a documentary play about the manhood in contemporary Serbia, the author highlights and explains the role of responsibility of both, the sender and the receiver of the artistic message in the process of cultural decontamination. The key concept is the idea of catharsis and education through theatre used as instruments for fostering changes and bettering the social context considered.
 
Attempts of scenic biographies: between myth, history and fiction
Get PDFThis paper aims to report the conclusions of a practice-as-research laboratory carried out with students of Université Lumière Lyon 2, which took place within the project “Borders’ trespassing: from France to Italy, from research to creation, from an art to another”. Students were invited to write a dramaturgy inspired from Casanova’s life. They explored several questions about playwriting (action, character, dialog…) and found original solutions to write a biographic play. The results question the representation of identity and personality in our mediatic world, experimenting intermediality in their text.
Keymords: théâtre, Giacomo Casanova, laboratoire, recherche-création, intermédialité
Irène Némirovsky and the Temptation of the big Screen
Get PDFHaving reached the apex of her fame in the 30s, Irène Némirovsky regained her popularity in 2004, when her posthumous novel French Suite was published, prompting the re-publication of all her works. Known as author of novels, Némirovsky would have liked to write exclusively for the cinema.
She authored four plays which never became films. With Hollywood in her mind, three unsuccessful attempts and movies based on her works, Némirovsky wrote great literature thinking about the big screen.
Key words: Némirovsky, literature, cinema, plays
Introduzione: Le donne e il teatro in Italia
No full textThis special issue gathers some of the papers presented on occasion of the international conference Women Representing Women in Theatre, held at the University of Milan on 20th-21th May 2019. With no pretence of being exhaustive and adopting a diachronic perspective, the following contributions examine women’s theatre in Italy in the last five decades—from the educational theatre of the early 1900s to the feminist dramaturgy and from the literary rendition of intergenerational conflicts to contemporary rewritings of the patriarchal script. Their differences notwithstanding, all the dramaturgical forms examined in this issue share a marked concern for existing (theatrical and social) conventions and the willingness for their authors to reclaim new form of self-representation — indeed, a stage of their own
Teatro e danza su effe (1973-1982): la rivista come archivio del discorso femminista sulla corporeità
Get PDFeffe was the most important voice of Italian feminism during the Seventies. The magazine shared its premises with the feminist Teatro della Maddalena, in Rome, and dealt at large with women’s cultural production, including the performing arts — from theatre to dance, from happenings to community art. Through effe, the critique regarding woman’s body in the public sphere (a key-instance of the Women’s Movement) developed also through articles and chronicles about the stage. This essay argues that such discourse moved between two poles: the radical critique of the commodification of naked actresses on theatrical stages (pars destruens), and, on the other hand, the intellectual appreciation of dance as a site for a female reappropriation of woman’s body (pars costruens)
“Non Sono Una Madre Come Si Deve”: Fabrizia Ramondino’s Terremoto Con Madre E Figlia
Get PDFUsing the interruption of menstruations in the mother and still absent in the daughter as physical evidence of the broken relationship between the two women protagonists of Terremoto con madre e figlia, my reading of the play reflects on the economy of such relationship. The mother historicizes the years of feminist and political commitment and her dedication to teaching through the presence of her daughter who completely refuses her mother’s teachings. Yet, the presence of the daughter serves as an alibi – from another dimension – for the author to autobiographically reflect on the horizon of the most important events of her existence. Relational contingency allows the mother to build her personal testimony of the Utopia of the Sixty-eight
I differenti colori della partecipazione. Il caso del progetto europeo Be SpectACTive!
Get PDFFocusing on the four years long, large-scale EU project Be SpectACTive!, the authors observe its initial, artistic and strategic, aims and the results in the light of the recent social and political changes as well as the notion of “inter-locality”. The EU priority Audience Development (AD) program and the organizations involved are analyzed highlighting successes and failures as well as their impact on cultural organizations and artists who have taken part in the program
The Word and the Flesh. Alimentary pictures and political strategies in the Theatre of Edward Bond and Rodrigo Garcia
Get PDFThis paper examines points of convergence between two major contemporary dramatists: British Edward Bond and Argentine-Spanish Rodrigo García. Indeed, even if their plays are formally very different, both stem from a radical criticism of our capitalistic consumption/aggression culture, both rely on the performativity of what is presented on stage, and both grant a prominent place to food. Food, which informs Bond’s critical and theoretical thought as well as his plays, and is omnipresent in García’s stage works, turns out to be an original dramatic constituent. By this means both dramatists establish contact with the spectator, with a view to bring him to (re)define his humanity and his political positions.
 
Lo spettatore coreografato: o quando il teatro entra al museo
Get PDFThe current museographical approach seems to go towards a form of interdisciplinarity, which leverages the encounter between visual and performing arts. From the Tate Gallery in London to the Palais de Tokyo in Paris, this dialogue not only gives rise to aesthetic experiences but also defines new forms of exhibitions: choreographed exhibitions. Within a migration from the black box to the white cube, the theatrical body becomes a work of art, through a process of objectivation. Likewise, the exhibition space turns into a hybrid place of creation. Through a kind of ontological negotiation between different art languages, the beholder is thus called into question: his participation is choreographed, as well as the very act of observation