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Linee per un’antropologia del corpo e dei sensi dell’attore teatrale: a partire da Helmuth Plessner
Get PDFThe essay on actor by Helmuth Plessner, linking anthropology and aesthetics, examines the functions of senses and body in the actor’s work, a question opened by the Eighteenth Century theatrical theories. An anthropological consideration of the actor reveals many relationships with the theory of images
«Una trasgressione delittuosa». Manichini di cera e teoria della percezione
Get PDFReferring to Tadeusz Kantor’s Dead class and the renowned mannequins dragged along the stage by its age-old characters, this essay focuses on the material used to build them, namely wax, investigating its distinctive meaning for aesthetics as a theory of perception
Il tragico, il comico e il grottesco nella lingua di alcune opere verdiane
Get PDFIn this contribution I report the linguistic reflections of the cathegories of the ugly and the grotesque in some Verdi’s libretti. Respect to the ugly, I concentrate my analysis on Solera’s libretti, particularly on Lombardi, in the first phase of Verdi’s composition process. Respect to the grotesque, the admixture between tragic and comic find its most convincing expression in the synergy between words and music in: Rigoletto, La forza del destino di Piave, Ballo in maschera di Somma. Here the stylistic variation among different carachters seems good dashed and well conducted by Verdi and the two librettists. Il trovatore, on the contrary, is few diversified in linguistic registers and in contrasts and it is characterized by a strongly elevated linguistic
Il teatro è un’arte visiva?
Get PDFIs theatre a visual art? We can consider such a question from a double point of view. From a practical perspective the answer seems to be posi-tive, however in theoretical terms the question is more complicated. The western idea of theatre is focused on the primacy of literary and it is only during the XX Century that the aesthetic consideration of theatre chang-es radically. Theater reduces or denies the narrative destination of its communication and emphasizes the production of an iconic meaning. Therefore we can speak of two different kinds of scenic dramaturgy: the “dramaturgy of difference” when we have a free interpretation of a preex-istent literary text (as for Jerzy Grotowski or Carmelo Bene) and an “iconic dramaturgy” (as for Romeo Castellucci or Jan Fabre) when we have the autonomous construction of a visual dramaturgy
Un giorno devi andare
Get PDFRecensione: Giorgio Diritti, Un giorno devi andare, Italia/Francia, 2013
In palmo di Mano
Get PDFRecensione: Franco Vaccari, In palmo di mano. A cura di Luca Panaro. Palazzo del Pio, Carpi (MO), 15 dicembre del 2012 - 24 febbraio del 201
Da Saramago a Cechov: il teatro musicale di Azio Corghi e il “teatro epico” del ‘900
Get PDFSince his debut, in Gargantua (1984, by François Rabelais), and even more in the works composed in collaboration with José Saramago (Blimunda, 1990; Divara, 1993), Azio Corghi has pursued an idea of drama characterized by a marked ‘aesthetic presence’ of the author and by his vision of the world, typical of the ‘epic’ theatre of the twentieth century. In 2000, composing Tat’jana Repina (2000) by Chekhov, with his ‘open’ theatricality and tormented existential problems, the musician was forced to rethink his musical dramaturgy: the landscapes of History designed by Saramago are replaced by a psychological story, which takes place in a ‘community’ of individuals marked by loneliness and despair; and the choral, ‘collective’ dimension, which in Blimunda and Divara arose from History, is converted into a ‘monological’ chorus which is typically Chekhovian and shows the crisis of communication typical of the modern theatre. To convey the bleak pessimism of Chekhov, in Tat’jana – going beyond Blimunda and Divara’s predominant symbolism – Corghi pushed his writing to the highest level of abstraction, used only at the beginning, during his structuralist period, no more in accordance with the strict determinism of post-Webern avant-garde but according to a free choice, dictated by inner artistic necessity
Assaporare il disgusto
Get PDFRecensione: Carolyn Korsmeyer, Savoring Disgust. The Foul and the Fair in Aesthetics, Oxford University Press, Oxford 2011, pp. 194
Che cosa è soprannaturale?
Get PDFThe paper discusses Woody Allen’s 1982 movie A Midsummer’s Night Sex Comedy and focuses on the dialectic between the characters of Andrew (Woody Allen) and Leopold (José Ferrer) and, in particular, on their different attitudes towards the notion of supernatural. I argue that in order to make sense of this dialectic we must embrace a somewhat Wittgensteinian view of what it is to say that something is supernatural