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Una “cronaca” teatrale del contagio. La peste napoletana del 1656 nella Partenope languente di Carlo Rota
Full text linkPublished in 1682, but written shortly after the outbreak of plague in Naples in 1656, the Partenope liberata, by the jurist Carlo Rota, is a singular "tragic drama". It was conceived by the author as an adaptation of the chronicle genre to dramaturgical codes and aimed to represent the health and social catastrophe that had occurred a few years earlier. The text, almost ignored by critical studies, deals with the complex relationship between actuality and literary form, and "tells" sub specie theatri the story of a plague epidemic that was strongly alive in contemporary memory. The essay examines the interferences between the narrative scansion of historical events and their stage version, in the double interpretation of the phenomenology of contamination, understood as both hybridization between two expressive genres and as a factual and symbolic representation of the trauma that struck the seventeenth-century metropolis.Pubblicata nel 1682, ma scritta a breve distanza dall’epidemia di peste napoletana del 1656, la Partenope languente, del giurista Carlo Rota, è un «dramma tragico» dal singolare impianto scenico, concepito dall’autore come adattamento del genere cronachistico ai codici drammaturgici e finalizzato alla rappresentazione della catastrofe sanitaria e sociale di pochi anni addietro. Il testo, pressoché ignorato dagli studi critici, sperimenta il complesso rapporto tra attualità e forma letteraria, “racconta” sub specie theatri la vicenda di un contagio ben vivo nella memoria del pubblico di destinazione. Il saggio prende in esame tali interferenze tra la scansione narrativa degli eventi storici e la loro versione scenica, nella duplice interpretazione della fenomenologia della contaminazione, intesa sia come ibridazione tra due generi espressivi sia come rappresentazione fattuale e simbolica del trauma che flagellò la metropoli secentesca
Le curvature del Don Giovanni. Il caso Goldoni
No full textThe Curves of Don Giovanni. The Goldoni Case · Don Juan is a rare example of a series of theatrical performances that evoke an apparently cohesive production chain in terms of both subject and text and the use of various theatrical expedients. However, although such presumed organicity certainly serves to contextualize the diachronic intertextual dimension of such an iconic plot, it is also a fact that it may divert the audience’s attention from the process through which each of these plays implements the Don Juan myth. Each new performance of Don Juan expresses a multiple relationship which mirrors different artistic, cultural and political contexts. Every new staging of Don Juan is the result of a montage that goes way beyond the original script. This essay focuses on Carlo Goldoni’s Don Giovanni Tenorio, which the artist conceived at the beginning of an intense experimentation phase. It represents a bold attempt at systematizing the 17th Century representative plot, marked by autobiographical elements and linked to the Italian pastoral tradition
Presentazione a Studi in onore di Ubaldo Floris Con gli Atti del seminario “Il teatro nell’Europa di Antico Regime tra censura e legittimazione” (Cagliari, 20-21 novembre 2008)
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