196,591 research outputs found
Fra pittura e schermo: l'immaginario extrascenico di Eleonora Duse
No full textIl saggio confronta l'unico film realizzato da Eleonora Duse, "Cenere", con i progetti cinematografici dell'attrice, individuando in questi ultimi una più marcata consapevolezza del linguaggio filmico e della sua estraneità dai modi della narrazione teatrale. In particolare, viene analizzata sulla base dell'epistolario con Giovanni Papini l'idea d'un film dedicato alle figure femminili della Cappella Sistina. Eleonora Duse, immaginandolo, non adatta al linguaggio cinematografico le tipologie di quello teatrale quale veniva generalmente praticato, ma cerca d'individuare nel nuovo mezzo una sponda operativa che le consenta di sviluppare e di emancipare dalla necessità del dialodo e della narrazione le particolarissime dinamiche di composizione che aveva precedentemente sperimentate in ambito scenico. Inoltre, il saggio affronta le ricadute formative e le implicazioni laboratoriali della visione cinematografica. Spettatrice clandestina, appartata nell'ombra della sala, sorpresa mentre piange davanti a filmacci melodrammatici, la Duse esibisce una palestra empatetica, non tanto ponte col suo ritorno alla scena, quanto espressione sotterranea dove il muto schermo dialoga con lo spettatore in un contatto d'anime, nel senso di sperimentazione dell'ignoto e dell'inconscio
Il corpo nervoso come corpo scenico: sguardi sulla giovane Duse
No full textAttraverso un'indagine che si muove fra sguardi esperni e esterni lo studio si propone di individuare , nel percorso artistico della giovane Duse, le ragioni di poetica dell'attrice, da un lato, e le forme attraverso le quali la sua peculiarità artistica viene raccontata dai contemporanei. In particolare alcune ricorrenze terminologiche nelle cronache hanno suggerito un approfondimento in relazione fra l'immaginario del corpo nervoso e/o isterico che ha segnato l'Ottocento europeo divenendo espressione esemplare di una nuova condizione dell'uomo contemporaneo, e il corpo scenico della Duse nello sguardo dei contemporane
Eleonora Duse and the Poetic Debut of Sara Teasdale
No full textThis paper analyzes the impact of the figure of Eleonora Duse on the poetess Sara Teasdale, who included in her first collection a series of lyrics dedicated to her (Sonnets to Duse and Other Poems, 1907), and also considered her in the following collection (Helen of Troy and Other Poems, 1911). Teasdale never saw Duse acting, but the great Italian actress accompanied the young American poetess in her poetic debut, thanks to which she managed to overcome a difficult period due to health problems. Duse became her guide, helping her to develop an aesthetic as a poetess and to reveal her inner world. Some of these compositions were also taken up by the American press in 1922 and 1923, on the occasion of Duse’s last tour in the United States. With her appreciated poetry, Teasdale helped to consolidate the myth of Duse in the Twentieth century
Eleonora Duse, Cenere e un progetto di sonorizzazione del film
No full textCenere è un film muto del 1916 tratto dall’omonimo romanzo di Grazia Deledda, la Grande Attrice italiana Eleonora Duse appare in questa pellicola nella sua unica interpretazione cinematografica. Il film quindi è un documento unico: Eleonora Duse ha 58 anni e lunghi capelli bianchi, ha abbandonato le scene teatrali da ormai sette anni.
In questo pagine si ripercorrono alcune vicende legate a Cenere, al rapporto di Eleonora Duse con il cinema, alle sue idee sull’arte nuova, provando a immaginarle come traccia di un processo che ha portato dopo un secolo alla realizzazione della sonorizzazione del film (da parte di chi scrive).
L’uso di strumenti acustici, suoni ambientali, voce e tessiture elettroniche, ha permesso di modellare quadri sonori in risposta ai frammenti visivi e al particolare ritmo di recitazione dell’attrice, ma anche all’idea stessa che Eleonora Duse aveva immaginato per il film
Eleonora Duse e Aleksandr Volkov
No full textIt was the painter Alexandre Volkoff (1844–1928) in particular who acquainted Eleonora Duse with mannerist compositional tension when she was preparing the role of Juliet for her Russian tour in the early 1890s. Duse shared Volkoff ’s views and, having taken on the concept of adopting a medieval style, she managed to transpose Juliet into an artificial, ageless icon through her adept use of details that were extracted from reality. In so doing she moulded herself, a woman over 30 years old, to the role of the young Juliet. Shakespeare’s character is just a teenager for whom a very light-colored dress would have arguably been more appropriate. Nevertheless, Volkoff recommended that the actress should not assume that the character must determine how she is presented. Instead, the presentation should be guided by the actress’s appearance. The painter’s suggestion was for her to wear a gown in a colour that suited her. He encouraged her to choose a dress of the same colour as her under-dress, and insisted that if she were to select blue, as in the sky, she should be very careful to find the exact shade among the fifty or so variations available. Finally, though, rather than blue,
together they decided on a yellowish brown that would convey a medieval nuance, and also constituted an attempt to destroy any apparent distinction between artifice and reality.
Evidence for this is provided by letters that Volkoff wrote to Duse between January 1891 and November 1892. Significantly, those letters enlighten us about what happened during Duse’s first Russian tour as well as about the importance of Volkoff in the actress’s career and life in general. The letters offer proof of the intensity of their romance. In order to preserve the secret of their liaison, Duse presented the entire collection of 195 letters written to her by Volkoff to her
close friend Countess Christiane Thun-Salm (1859– 1935). Sophie Aldringen Mensdorff-Pouilly affirms
that Duse had left them with Christiane for safe-keeping before one of her tours and had never asked for them back. 6 What happened during Eleonora Duse’s Russian tour is revealed in Alexandre Volkoff ’s letters to her. For almost a century the letters that Volkoff wrote to his Eleonora have been lovingly preserved, first by Christiane Thun-Salm, and after her death by her granddaughter Eleonora Thun-Hohenstein, who was a distinguished playwright and journalist. Christiane secured a promise from her granddaughter that she would not open the boxes that contained her documents until fifty years had passed after her death. When that time came, Eleonora Thun-Hohenstein found that they included Volkoff ’s letters to her grandmother. Before her death, in 2012, she presented Volkoff ’s letters to Duse to her grandniece Sophie Mensdorff-Pouilly, and recommended that she preserve Volkoff ’s letters to Duse since they had been looked after for many years by their family, as Duse had wished
Dalla scena alla pagina: le ‘trasfigurazioni’ di Eleonora Duse
No full textStarting from some notes on the ‘transfiguration’ of personal memories on the written page, this essay uncovers the problems that actress Eleonora Duse had with the publication of D’Annunzio novel The Flame. Although the actress didn’t forbid the publication, she suffered because of the portrayal of the Foscarina character, modelled on herself: it was through a private conversation with a young fan, Noemi Carelli De Agostini, that Duse could revise her opinion on the book and forgive D’Annunzio. Also, the conversation made Duse conscious of the importance of her art and of the way it could be bequeathed to posterity
La Duse, il nuovo teatro italiano e il degrado attuale dell'arte attorica
No full textEsiste una linea anomala e di resistenza nel teatro italiano del Novecento rappresentata dall'attore-artista, di cui sicuramente Eleonora Duse è stata la capostipite. Nel contributo si cerca di mostrare come il nuovo teatro italiano, con figure-guida quali Carmelo Bene, leo de Berardinis e Carlo Cecchi, abbia fatto i conti con questa tradizione, riappropriandosene originalmente, senza che purtroppo ciò sia riuscito a contrastare il degrado crescente che affligge l'arte attorica in Italia oggi
The Life and Work of Eleanora Duse
No full textThe purpose of this thesis is to present the biography of one of the greatest of the twentieth century actresses, Eleonora Duse, and the art for which she became famous.
By the revealing power of an unobtrusive art, Duse made herself the greatest actress of her day. When the French said she had widened the horizon of her art, they paid tribute to what was something almost reaching the stage of genius, if it was not that.
As an artist she belongs to the world, and the world has placed her among its greatest. But those who knew her only on the theatre\u27s stage, did not know Duse altogether. For her friends said that wonderful as she was then, it was not half as wonderful as knowing her as a friend.
A gifted actress, she was greater as a woman than as an artist
Ma pupa, Henriette Le lettere di Eleonora Duse alla figlia
No full textLe lettere di eleonora Duse alla figlia Enrichetta sono una fonte imprescindibile per la comprensione della figura artistica della grande attrice italiana. Questi documenti testimonino la ricchezza intellettuale e umana della donna e della madre
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