1,721,112 research outputs found
Staging/In scena
No full textWhat does being canonic mean for a dramatic text? Why is a text such as "Six characters in Search of an Author, a text that broke radically with the traditional structure of drama, expressing the crisis within fundamental categories of Westernthought, considered canonic? The author analyses the problem in two joint-text essays that accompany Pirandello's work, from the perspectives of ideas and that of the history of the dramatic form and performance: "inside the text" and "staging".The book is the first of a series of volumes designed to put together the pieces of an open mosaic, which has contributed significantly to the building and expression of the European consciousness
L'uomo e la rappresentazione:una introduzione
No full textIl saggio introduce lo studio interdisciplinare a più voci sul rapporto costitutivo che lega l'essere umano all'atto della rappresentazione nella sua forma artistica e drammatica, mediale e dal vivo
"Una dilettevole scuola de' buoni costumi e una soave cattedra di lezioni morali". La transizione culturale nella tragedia
No full textThis essay traces the educational, ecclesiastical and aristocratic settings of Milan in which eighteen-century tragedy was produced. They can be considered experimental workshops where forms and themes are renewed, and where the idea of theatre based on morals, culture, ethical and civic roles, and aristocratic enjoyment is shaped. The essay explores also the theatre scholars’ contribution to the well-known lively debate of the times on the theory of the “perfect genre”.
Three trends are considered: biblical tragedy, political tragedy with a Greek and Roman theme, and tragedy based on the history of Italy. Three emblematic examples of the said trends are then analysed.
The adopter approach is that of historical and archive research, and dramatic text analysis.
The essay outlines an aspect to date less well-known, and proposes hypotheses and questions on the relationship not only between the genre of tragedy performed in eighteenth-century Milan and the cultural tradition, but also with the religious, political, anthropological and aesthetic issues made urgent by the times
inside the text/dentro il testo
No full textWhat does being canonic mean for a dramatic text? Why is a text such as "Six characters in Search of an Author, a text that broke radically with the traditional structure of drama, expressing the crisis within fundamental categories of Westernthought, considered canonic? The author analyses the problem in two joint-text essays that accompany Pirandello's work, from the perspectives of ideas and that of the history of the dramatic form and performance: "inside the text" and "staging".The book is the first of a series of volumes designed to put together the pieces of an open mosaic, which has contributed significantly to the building and expression of the European consciousness
La "passione" dell'uomo. Voci del teatro europeo del Novecento
No full textA historical and critical investigation, the book examines the meeting between Christian anthropology an the theater in the context of twentieth-century culture and dramaurgy.
It uncovers the nuclei that show how these two worlds are structurally compatible and how they converge in the figure of Christ.
Twentieth-century European theater, oscillating between apotheosis and derision, negation and desire, has returned frequently to Christ. The characters of twentieth-century theater have often been Chirst figures, whether in the humanity of Christus patiens, the suffering man who loses, or in the divinity of Christus resurgens, who is victorious over pain and death.
This volume analyzes the works of several authors who, in varying degrees, have allowed themselves to be provoked by Christianity: Péguy, Eliot, Bernanos, Fabbri, Luzi, Beckett, Grotowski, Kantor.
The analysis is not limited to themes and content, but it also explores technical innovations and the understanding of theater towards which the authors, often stimulated by the Christological theme itself, were pushed.
The text is accompanied by informational tables and photographs of historical stagings
Sulla questione del testo del teatro
No full textIl saggio fornisce un essenziale stato della questione sulla nozione di testo teatrale, fra testo drammatico, testo scenico, testo performativo. Vengono richiamati alcuni recenti studi fondamentali e comparativamente e dialetticamente analizzati
La tragedia nel teatro del Novecento: Coscienza del tragico e rappresentazione in un secolo al 'limite'
No full textIn his famous essay on the reflection of the tragic in ancient drama reflected in the tragic in modern drama, Søren Kierkegaard observes that tragedy still remains the tragic and that the idea of the tragic remains essentially the same, as it remains natural for mankind to weep.
The consciousness of the tragic has traversed Western culture for millennia. It is closely bound up with the intuition of the inescapable limits, inseparable from the human condition.
If the sense of the tragic is a permanent structure of human consciousness, tragedy is a form in which that structure has historically been translated. It was dramatic art and the stage that embodied and expressed it, enabling it to exist.
As Peter Szondi rightly points out, it is only the modernity that, while decreeing the death of tragedy and reconstructing its transformation through the centuries, has developed the tragic as a philosophical idea. It is the modernity that, after Nietzsche, has fueled a great debate about tragedy to the point as times of making it a paradigm for the interpretation of human existence and reality.
The book returns firstly to Greek source as was done by almost all the modern artists whose work is discussed in its pages. The purpose is to identify certain nuclei which in the historical development of this form of consciousness and its representation, have served as models, but above all as points of reference variously transformed and interpreted: above all the necessity of a limit.
The book thus examines the variety of shapes that tragedy took in the twentieth century by analyzing several emblematic texts where the idea of limit is variously interpreted against the backdrop of the range of ideologies and philosophies that characterized the twentieth century. The texts considered are Ibsen’s
Gengangere, Claudel’s L’annonce fait à Marie, O’Neill’s Morning becomes Electra di O’Neill, Brecht’s Mutter Courage und ihre Kinder, Camus’ Caligula, Beckett’s Fin de partie, Delcuvellerie’s Rwanda 94 and Josse de Pauw’s Ruhe.
The book considers also the correlation in each text selected and analyzed between the embodiment of the idea of limit and the idea of theater expressed by in the technique of construction of the text.
The study includes a cronology of stage performances and a photographic insert
Rovesciamento della tradizione: Cristo e Eschilo inattuali? "Orestea" e "Sul concetto di volto nel figlio di Dio di Romeo Castellucci.
No full textIl saggio analizza due spettacoli di Romeo Castellucci: "Orestea" e "Sul concetto di volto nel Figlio di Dio" sotto il profilo della tradizione della cultura greca classica e della cultura cristiana valutando la sua attualità o la sua dissacrazione
Modern European Tragedy. Exploring Crucial Plays
No full textThe consciousness of the tragic has traversed Western culture for millennia. It is closely bound up with the intuition of the inescapable limits, inseparable from the human condition.
If the sense of the tragic is a permanent structure of human consciousness, tragedy is a form in which that structure has historically been translated. It was dramatic art and the stage that embodied and expressed it, enabling it to exist.
As Peter Szondi rightly points out, it is only modernity that, while decreeing the death of tragedy and reconstructing its transfprmation through the centuries, has developed the tragic as philosophical idea. It is modernity that, after Nietzsche, has fueled a great debate about tragedy to the point as of at times of making it a paradigm for the interpretation of human existence and reality.
Working from this premise, this book sets out to take on the problem of how the tragic is depicted in contemporary theatre by first considering dramaturgy and then performance.
The book returns firstly to Greek source. Thus it examines the variety of shapes that tragedy took in the twentieth century by analyzing several emblematic texts where the idea of a limit is variously interpreted against the backdrop of the range of ideologies and philosophies that characterized the twentieth century.
The texts considered ( plays or performative theatre) are: Ibsen's "Ghosts", Claudel's "The Tidings Brought to Mary, O'Neill's "Mourning Becomes Electra", Brecht's "Mother Courage and her Children", Camus' "Caligula", Beckett's "Endgame", Pasolini's "Pilade", Grotowski's "Akropolis" and "Apocalypsis cum figuris", Groupov's "Rwanda 94" , De Paw's "Ruhe"
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