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Carnefice o spettatore? L'ingaggio spettatoriale in The Repetition. Histoire(s) du théâtre di Milo Rau
Full text linkStarting from the idea that every single work of art is perceived through not only our senses but also our mind, and that the theatrical event is a privileged occasion during which the cognitive world is connected with the emotional dimension of the individual, creating an interaction between emotional experiences and critical learnings that allows for a development of the emotional intelligence, the aim of this paper is to try to describe the spectatorial engagement, prompted by the contemporary theatrical representation of the Evil. Specifically, taking as basis for the consideration the play The Repetition. Histoire(s) du théâtre, first chapter of the series Histoire(s) du théâtre dedicated to the theatrical essence – the tragedy, in this case – of Milo Rau
L’assentificazione dell’oggetto e la presentificazione del soggetto nelle opere teatrali di Sarah Kane
Full text linkArt as an organization of the empty is a theory that shows a deep affinity to the psychoanalytical processes suggested by Sigmund Freud and Jacques Lacan. Indeed, the artistic experience cannot avoid the vacuum limit or circumscribe it. Art does not omit nor does it fill the need, or absence of this need, though it could outline and border it. The works written by the British playwright Sarah Kane, a spokesperson for the experiential theatre dominated by an aesthetic limit and excess, demonstrate the theory that there is nothing impossible to represent on stage. In fact a symbolic treatment of the real in which the inability to represent the Thing (according to the Lacanian definition) becomes the same condition of a possible representation. The assentification of the object is closely correlated to a subject\u27s presentification. In her works Sarah Kane, expresses the notion of a collision such as a Stoss, named by Heidegger in The Origin of the Work of Art, in which the aesthetic experience together with anguish and death, is aimed at keeping alive the sense of disorientation which is a constituent factor and provisional of being in the world, Daseing
Unsex me here. Ambivalenza e metamorfosi di Lady Macbeth
No full textMacbeth is the tragedy of desire. Lady Macbeth’s identity is a fiction of closure, namely a metonymic part that cannot represent the whole, the predetermined complexity with which being coincides with its subjectuality, made even more evident by the non-allocation of a name from the author. Being of Lady Macbeth is an aporia that says the true, because it built on an identification of opposites and destined inevitably to death to get a resolution of the internal conflict that embodies
Postfazione - Gli spettacoli dello «scandalo» . In: CUPPONE R., FUOCO E.. Blasphemia. Il Teatro e il Sacro
No full textVolo Nove Zero Tre. Emil Zátopek: il viaggio di un atleta
Full text linkVolo Nove Zero Tre.Emil Zátopek: il viaggio di un atletaprogetto di Stefano Annoni da una suggestione di Renata Molinaritesto di Maddalena Mazzocut-Miscon Stefano Annoni e Daniele Gaggianesiregia Massimiliano Spezianiassistente alla regia Anna Mainidirettrice di produzione Marta GalliProduzione ArteVOX e ASLICO, Teatro Sociale di Comoin collaborazione con l'Università degli Studi di Milanocon il patrocinio del CONI LOMBARDIA e del CONI Comitato Provinciale di Comodi Ester FuocoVolo Nove Zero Tre.Emil Zátopek: il viaggio di un atletaprogetto di Stefano Annoni da una suggestione di Renata Molinaritesto di Maddalena Mazzocut-Miscon Stefano Annoni e Daniele Gaggianesiregia Massimiliano Spezianiassistente alla regia Anna Mainidirettrice di produzione Marta GalliProduzione ArteVOX e ASLICO, Teatro Sociale di Comoin collaborazione con l'Università degli Studi di Milanocon il patrocinio del CONI LOMBARDIA e del CONI Comitato Provinciale di Comodi Ester Fuoc
Il teatro del mondo. Per un’estetica relazionale: SUQ Festival
Full text linkThe SUQ Festival has been recognized by the European Union as one of the best practices for the dialogue between the local and foreign communities of the city. It is a people's bazaar unmatched in Italy. According to the definition of Ball, we may say that the SUQ Festival achieves a concrete form of social unification by means of a performative dimension. Thus, in the present article, I will examine the spontaneous origin of the SUQ Festival and its development in the form of a performative and theatrical practice aimed at establishing new modes of existence and new action models in the context in which it takes place. I will focus on the strategies that the festival has adopted for the social multicultural inclusion and for the artistic transformation of the area in the last twenty years by explicitly following the key principle of Bourriaud's relational aesthetics: namely, the slippage of the creative attention from the production.Il SUQ Festival, riconosciuto come best practiceper il dialogo tra le diverse comunità stranieri e locali presenti in città dalla Commissione Europea, è un bazar dei popoli unico in Italia, interstizio sociale in cui attraverso la dimensione performativa si concretizza la costruzione civile e l’unificazione sociale. Si analizzerà l’origine spontanea del festival genovese – specchio del multiculturalismo quotidiano contemporaneo – la sua evoluzione come pratica performativa e teatrale atta a costituire modi d’esistenza e modelli d’azione, all’interno della realtà in cui ha luogo. Si presenteranno gli strumenti d’inclusione sociale utilizzati in un’ottica interculturale e di urbanizzazione artistica del territorio e i risultati raggiunti nel ventennio di attività partecipative, svolte seguendo la principale linea di cambiamento dichiarata nell’estetica relazionale di Bourriaud: lo slittamento dell’attenzione creativa dalla produzione di oggetti alla formazione di comunità
Between hyperreality and magic: Depois do silêncio by Christiane Jatahy
Full text linkThis article investigates the considerable anthropological and social value of Christiane Jatahy’s theater performance Depois do silêncio1. Jatahy, Brazilian playwright, director and actress, conducts in-depth analysis and a philological work on various documentary materials while also adapting literary and cinematic sources for the theatrical stage in a performance depicting the journey of the Brazilian Landless Workers’ Movement, descendants of slaves still persecuted today, and unveiling dark aspects of the history of Auriverde. This essay examines the play Depois do silêncio (After the Silence), the third and final chapter of the Trilogy of Horror, a performance in Portuguese in which we can observe this Wagnerian transmedia summa. The play gives the impression of leaning heavily towards documentary theater but, gradually, the static aspect of the beginning of the work fades away and the discussion unfolds among the three main characters, cinema intermingles on the stage and the live music by Aduni Guedes brings forth the sound of the earth, the celebration, the tribal rite and the magic spirits
Esplorazioni intermediali nel teatro di Amir Reza Koohestani. La ricerca della libertà tra iperrealtà e tradizione
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