Itinera
Not a member yet
571 research outputs found
Sort by
L\u27iniquo osservar(si). Una sintomatica del disgusto, sulle tracce di Martha Nussbaum
Get PDFEnlighted by Martha Nussbaum in an influential monograph (From Disgust to Humanity, 2010), the category of disgust towards the homosexuals provides a productive theoretical frame of reference for a re-reading of the Italian cultural politics between the 19th and the 20th Century. Furthermore, among its contemporary narrative accounts we may read two strands of the fictional representation of the homophobic disgust: a provocative one, aiming at narrating the transformations affecting the Italian social structures of the Seventies and of the Eighties (Natalia Ginzburg, Pier Vittorio Tondelli), and an internalized one, reflecting, often autobiographically, the crisis of the homosexual person/artist (Pier Paolo Pasolini, Walter Siti). 
Performative and moral issues in the theatrical metaphor
Get PDFThree major thinkers of theatre, Erving Goffman, Marvin Carlson and Bruce Wilshire, admit that theatre is an essential and central metaphor for life. Nevertheless, the two main questions of their discussion are, on the one hand, the existence of a range of moral criteria and values that differentiates the two worlds and, on the other, the possibility of defining the threshold between theatre and life
Of Disgust and Beauty (Jan Fabre)
Get PDFThe uniqueness of the work of Jan Fabre could be that disgust is always compensated by an appealing form. We shall see that Je suis sang and L’histoire des larmes exhibit the “exuberante liveliness” of human bodies in a sort of sacrificial fever, showing with no restraint, fluids and secretions of the body. If urine, sperm, sweat, and blood are generally considered as disgusting, on the contrary Jan Fabre does not worry about describing them as part of beauty. Then we could wonder if the purpose of the artist is not the destabilise … Apparently Jan Fabre wants to show the world as it is, with its part of disgust. While awaking our senses and therefore creating strong emotions, the artist probably expects to make possible a larger communication between us and the world
Écriture visuelle et plastique dans les œuvres de Jan Fabre
Get PDFDealing with the visual aspects in his writing process, this is not only because of the cultural context but also because of his background that Jan Fabre literature is also a visual literature. The analyses of Mon corps, mon gentil corps, dis-moi… focus on the sight sense in a linguistic point of view, and those of Another Sleepy Dusty Delta Day tend to highlight the plasticity of the writing that goes beyond the text itself
Thinking Disgust Plural
Get PDFThe paper explores the connections between disgust and contempt, arguing that contempt as a visceral and intellectual affect emerges out of a knowledge of disgust. Just as contempt can constitute a polished performance, so too disgusting objects can be transformed into art.Â
«... la merdre n\u27était pas mauvaise»: Ubu roi – a Play for five Senses
Get PDFUbu roi of Alfred Jarry (1896) is known first and foremost as a revolutionary event in the history of modern theatre. However, before being a scandalous performance, Ubu roi is a grotesque puppet play that contains an infinite number of meanings and which appeals simultaneously to all five senses. The objective of this article is to examine Ubu roi from the point of view of its sensory evocations, and to demonstrate how this play reverts comically the symbolist search for correspondence of the senses
Tweetre: What role can technology play in contemporary theatre?
Get PDFThis article is a brief, individual review which illustrates some advances that digital technology can foster for theatre. Whether this can be seen as an encroachment or augmentation in this field, there are clear examples of significant opportunities for practitioners who follow the digital route as a means to increase theatrical participation. Concurrent to this, this article will demonstrate the validity of using the principles of game design to consider the potentials offered by digital theatre and indicate possible avenues for future research
« Uscio e bottega » : dal Teatro de Los Sentidos a una poetica originale
Get PDFThis work focuses on the Italian theatrical performance Uscio e bottega by Francesca Giaconi and Lorenzo Bianchi, from its origin - rooted in Theatre of Senses by Enrique Vargas - to the achievement of its own poetics. In this historical period of great changes for dramatic arts, the experience of this little company and their play reflects the ongoing metamorphosis whilst aiming at touching the intimate depth of individuals. This work retraces the steps that lead to the creation of this theatrical performance, stressing its unique and original elements as well as those influenced by the Theatre of Senses. We will discuss the special participation of the public and the traces of a regionalism so peculiar as to make Uscio e Bottega a noteworthy specimen in the rich, albeit somehow jagged, Italian theatrical landscape
Gusto e moda: tre letture filosofico-antropologiche a confronto
Get PDFâFollowing current fashionsâ is a widespread and well-known phenomenon of so called âconsumer societyâ, characterized by a rapid change of shared tastes. Although philosophy has not paid enough attention to this phenomenon yet, references to fashion or evaluations of its intrinsic dynamics are present in the works of several contemporary philosophers. Concerning this matter, the purpose of the paper is to compare conceptual paradigms emerging from the perspectives of three twentieth-century thinkers: Nicolai Hartmann, Hans- Georg Gadamer and Eugen Fink.Â
Â
 
Introduzione
Get PDFThe issue starts from an international conference on the theme The Theatre and the five Senses. Theories, Aesthetics and Dramaturgies, held in Paris on June 13th and 14th 2016. The conference was part of a three-year international research project that comprises three European universities and different cultural and theatrical institutions from three countries (Italy, France, Romania). As the title of the conference indicates, the focus of this issue is the role that the senses play in the theater, in different cultural contexts and in different periods