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Introduzione: Introduction
Get PDFTheatre can be an important instrument of political and cultural resistance in difficult economical and social contexts, it can allow viewers to regain a sense of community. This issue, which arises from the international conference “Politiche del teatro” (held at the University of Milan on 28th and 29th November 2017, as a conclusion of the Creative Europe Project “Senses: The Sensory Theater”), aims to identify the specific forms that the political discourse assumes today in theatre and the aesthetic paradigms to which it refers
Antonin Artaud and James Turrell : The power of the place and the liminal language of space
Get PDFThis essay explores the theoretical and material possibilities of a “language of space” in theatre as found in the works of Antonin Artaud and James Turrell. By drawing a bridge between Artaud’s philosophy of theatre and Turrell’s approach to conceptual art, we consider how the art of “stage work” is intimately linked to the fundamental philosophical questions of language and being. The foundations of our inquiry rest on the phenomenological analyses of French philosopher Georges Didi-Huberman. The main elements of our reflection concern the notions of the poetics of language and the substantiality of space.
 
How the Italian scene appropriated L’Homme semence: The adaptation strategies of a so-called manuscript
Get PDFSonia Bergamasco’s adaptation of L’Homme semence by Violette Ailhaud makes use of a single actor reciting, even if, in a staging that emphasizes plurimediality, it is not possible to define L\u27uomo seme as a real monologue.
The analysis will take into account first the structure of the story, the strains that the plot imposes on the fabula and the effects it has on its global meaning; the linguistic marks that oppose the choral speech to the individual discourse, and the mentions referring to a culture anchored in a territory in a precise moment of history, which are superimposed on a speech that touches on the universal.
Adaptation, réécriture, Ailhaud, Homme semence, théâtr
The Public and the Scene in Prison: How to evaluate the Spectator’s Participation in the performative Experiences of the Nuovo Teatro Galeotto in Bollate
Get PDFTo study spectators’ participation in performances by inmates, we must be able to analyse, process and evaluate, in both qualitative and quantitative terms, the data giving us the insight into the special nature and possible outcome of this relational experience. This is the aim of the Nuovo Teatro Galeotto project at the Bollate correctional facility underway between 2017 and 2018. Essentially, the intention is to define a system for evaluating theatre activities by the inmates, in order to fully understand their significance as part of projects designed to contribute the rehabilitation and social re-integration of people serving time in prison for various ‘antisocial’ acts, and to measure the effects of these activities on different audiences
«To call fools into a circle»: Benjamin’s interpretation of As you like it and The Tempest
Get PDFCalderon and Shakespeare are the two main authors that lie behind Benjamin’s examination of the German baroque drama. This paper addresses the importance of Shakespeare in his difference from the other big European cousin, Calderon. This does not mean that, according to Benjamin, Shakespeare is more important than Calderon (his beautiful essay on Calderon of 1923 contradicts this point), but rather that the English author brings to light an element that in Calderon is in some way missing. This is what Benjamin in some critical texts from the period of the Trauerpielbuch calls the «dramatic».
Why does Benjamin say here that the dramatic precedes the tragic? And what does this have to do with the two Shakespearian characters he refers to in a letter of the same year, Caliban and Ariel? Moreover, is the interpretation of The Tempest that this passage implies the same as the one that he suggested in his previous essay on As you like it (1918)?
These questions will lead to a few passages of the Trauerspielbuch that were particularly difficult to translate (not only in the two Italian previous translations, but also in the first English version, by John Osborne) and that can shed light on some important aspects of the book itself. In this context, another Shakespearian character will come to the aid, the Jacques of As you like it, with his Greek invocation «to call fools into a circle»
Performance queer drag: Senith e la sperimentazione faux queen in Italia
Get PDFThis article is centred on the faux queen experimental theatre by Italian artist Senith, and on the links between this theatre and queer feminist activism in Italy. Senith is a queer drag performer from Rome, and the co-founder of the former queer drag king group Eyes Wild Drag. After the group disbanded in 2015, Senith has been performing as a solo artist in shows such as BAD ASSolo (2016) and Lo Schizzo (2017) [Squirting]. She has also been developing, transforming and enriching projects originally born within Eyes Wild Drag such as the Erotic Lunch and the Queerrida. The article will concentrate on Senith’s faux queen experimentations, trying to understand how the genre is translated/adapted for the Italian scenario and what Senith is trying to achieve with it. In doing so the article will discuss the notion of queer femininity, otherwise known as Fem or femme (Serano 2007; Dahl 2009), its genealogy within lesbian feminism, and the connection between the themes developed by faux queen performances in general and those discussed in queer transfeminist activist scenarios in Italy. These are, in particular, the invisibility of the Fem, misogyny, slut-shaming, sexism, and women’s control over their body and sexuality
Grecia: la crisi va a teatro
Get PDFHow has the economic crisis affected the theatre in Greece? In the recent years, Athens and Thessaloniki have experienced a boom in culture and theatre. Despite low budgets (young actors are often unpaid), the number of plays performed is set to increase and the new production strategies are attracting more audience. The polis itself has become the stage: performances are taken out of the theatres and moved to public squares, streets, old factories and rundown neighbourhoods. Meanwhile, the citizens-spectators have rediscovered the urban topography and the renewed sense of community. It seems that bearing together the brunt of the crisis is possible.
 
A View on Castellucci, between Reality, Voice and Spaces: Interview of Piersandra Di Matteo
Get PDFPiersandra Di Matteo collaborates with Romeo Castellucci since 2008. She combines her activity of curator with that of researcher and teacher at the Academy of Fine Arts in Bologna. She has worked in some the most important international festivals and theaters, from the Festival d’Avignon to the Schaubühne in Berlin, from the Wiener Festwochen to the Opéra de Paris. Her research deals with post-dramatic theatre, linguistics and contemporary philosophy, but also with the question of voice and of curatorial practices. She was invited speaker at different international research centers, like The School of Creative Media / University of Hong Kong; the Shanghai Theatre Academy; the Italian Academy, Columbia University (New York); the Center for Italian Studies, PENN University (Philadelphia). In May 2018, she edited E la volpe disse al corvo. Corso di linguistica generale, an inter-institutional project that realized ten performances of Castellucci in different places of Bologna, winning the UBU award for the best artistic-organizational project. Currently she is the curator for ERT - Emilia Romagna Teatro of Atlas of Transitions Biennale (2018-2020), which started last June in Bologna with the ten days of "Right to the City".Collaboratrice teorica e dramaturga di Romeo Castellucci dal 2008, Piersandra Di Matteo affianca alla sua attività di curatrice nelle performing arts quella di ricerca e docenza presso l’Accademia di Belle Arti di Bologna. Ha lavorato nei maggiori festival e teatri internazionali, dal Festival d’Avignon al Schaubühne di Berlino, dal Wiener Festwochen all’Opéra de Paris. Le linee di ricerca seguite fin dagli studi dottorali l’hanno condotta a occuparsi di teatro post-drammatico, linguistica e filosofia contemporanea, ma anche di voce e pratiche curatoriali. Per gli esiti scientifici dei suoi studi è stata invitata a tenere conferenze e seminari in centri di ricerca internazionali, tra gli altri The School of Creative Media/University of Hong Kong; Shanghai Theatre Academy; Italian Academy, Columbia University (New York); Center for Italian Studies, PENN University (Philadelphia). Nel maggio 2018, ha curato E la volpe disse al corvo. Corso di linguistica generale, progetto inter-istituzionale che ha visto la realizzazione di dieci performance di Castellucci in diversi luoghi della città di Bologna, e che è stato insignito del premio UBU come miglior progetto organizzativo-artistico. Attualmente è curatrice per ERT - Emilia Romagna Teatro Fondazione di Atlas of Transitions Biennale (2018-2020), che ha preso avvio lo scorso giugno a Bologna con le dieci giornate di “Right to the City”
Introduction
Get PDFThis issue of Itinera collects a selection of the papers presented by the participants of the International Conference "Aesthetics of Emotions. Arts and Cognitive Science" held in October 2016 at the University of Milan. The focus of the conference, on the link between arts, emotions and cognitive sciences, is richly reflected in the themes addressed by the essays, which attempt to put into interdisciplinary dialogue "classical" perspectives of the history of aesthetics with more contemporary perspectives inspired by experimental sciences, in particular psychology, cognitive sciences and the theory of emotions
Romeo Castellucci’s hypnotic atmosphere
Get PDFThis paper aims to clarify the contrasted public response to Romeo Castellucci’s works, analysing particularly his work the Oresteia (2015) in the light of actual philosophic and scientific researches about hypnosis. Hypnosis, in fact, may provides us with the tools to understand the scenic processes which may induce a state of trance-like in the spectator and more generally the emotional path, between shock, hypnosis and distance, proposed by the images on stage