1,721,033 research outputs found
Funding theatre in Italy: critical scenarios across the pandemic
No full textThe paper addresses the controversial impact of the pandemic on the Italian performing arts system from the economic and institutional perspective, relying on extensive quantitative research. The study is mainly based on the MIDAS database , developed by the author and his team, which includes over 40,000 funding records of about 9,000 theatre enterprises in the period 2013-2023: drawing upon over 350 acts for granting by the State, 1.700 by the local authorities, and over 1.300 by 86 banking foundations, the relational analysis outlines the funding trends of public and private stakeholders in live entertainment in Italy, connecting them to financial reports, labour, and audience behaviour.
The pandemic highlighted some of the historical weaknesses of the Italian performing arts system , leading in the mid-term to some positive effects in labour legislation, and worsening the landscape when funding and territorial inequalities are at stake. As an example, in the case of Class A opera houses, emergency legislation and extraordinary funding became a lifesaver, offsetting balance sheets that had been drowning in red ink for years
Antonella Valoroso, Adelaide Ristori e lo specchio della scrittura. Messinscena delle memorie di una diva
Full text linkRecensione del volume omonimo di Antonella Valoros
Performing arts, economics, and cultural policies. New interpretative paradigms between aesthetics and social sciences
No full textThe project aims at renewing the methodologies and perspectives for investigating the performing arts through dialogue and interdisciplinary cooperation between Humanities (Theatre Studies, Musicology, and Aesthetics) and Social Sciences (Economics and Law) with the help of Informatics.
Despite the vast amount of literature about the creative industries, and especially about the cinema, the relationship between the performing arts, economics, public financing, and cultural policies still requires more investigation, both in a historical and contemporary perspective. A major study, dealing expressly with the analysis of primary sources and quantitative data, is necessary.
The project aims at filling in this gap of knowledge through the analysis of large and hitherto unexplored archival sources that have been produced by major theatrical entities, public institutions, and single individuals on State, regional, and local level over the last 150 years. This wide documentation is of theatrical, economical, juridical, and political nature, and it represents an uncharted reservoir of quantitative and qualitative data: if correctly processed and analysed, also with the aid of machine-learning technology, it is likely to achieve ground-breaking results in terms of the capacity of reading the historical evolution of the Italian theatrical system from the unification to nowadays.
The research activities investigate the evolution of the market on artistic production and consumption from a highly interdisciplinary perspective. The objective is to introduce also in Italy a methodology that has proven to be ground-breaking abroad, as the PI and the LRs have experienced in their previous international research
Theatre and music between two shores of the Mediterranean: cultural connections between Italy and Tunisia (Global South 2022)
No full textThe project analyses the circulation of Italian opera, music, and drama in the Mediterranean, from the perspective of Tunisia
Tra «incivilimento» e «riordino»: le ambizioni di un grande teatro d’opera per Roma capitale (1789-1960)
Full text linkDuring the nineteenth century the theatre building - and in particular the opera house - imposed itself as tangible proof of the civic progress of Western societies. As Mazzini theorised the “civilization of the multitudes” through the arts, the theatre became the place where this yearning could be pursued.
The momentum of Italian theatre construction was impressive during the nineteenth century, both in the major centres and in the small provincial towns. Rome, from this point of view, represents a significant exception. Until the end of the 19th century, the city, although equipped with important venues of the old regime, did not have an opera house conceived in contemporary terms. To fill the gap, for about a century and a half, designers from different backgrounds will work to equip the capital with an opera house worthy of its aspirations. Drawing on rare or little-known sources, produced among others by architects Pietro Sangiorgi, Antonio Lovatti, and Marcello Piacentini, the contribution reflects on the positioning of a large opera house in the urban layout of the capital. From the papal Rome and the liberal age, to the fascist period, the longed opera house tries to give new, contemporary meanings to a building that will come to stand out for its fascinating outdatedness
La Preistoria: La Borsa di Arlecchino e il CUT
No full textVolume dedicato al quarantesimo anniversario della fondazione del Teatro della Tosse di Genov
«A single purpose: the conquest of the foreign art markets»: Theatre and cultural diplomacy in Mussolini's Italy (1919-1927)
Full text linkThis article explores the role of theatre in the strategies of cultural diplomacy that developed in Italy between the last years of the liberal state (1919–22) and the rise of Benito Mussolini. It covers the period until 1927, when the establishment of the Istituti Italiani di Cultura (Italian Cultural Institutes) and the approval of a new regulatory framework for migration marked a new era for fascist soft-power ambitions. The article draws upon unpublished sources of the Historical Diplomatic Archive of the Italian Ministry of Foreign Affairs and offers a new perspective on the use of theatre and the performing arts as a tool for cultural diplomacy through the testimony of such flagship authors as Luigi Pirandello, Filippo Tommaso Marinetti, Alfredo Casella, and Pietro Mascagni
Dariusz Kosiński e Wanda Świątkowska, Il teatro sconosciuto di Jerzy Grotowski. Le rappresentazioni al Teatro delle 13 File
Full text linkRecensione del volume di Dariusz Kosiński e Wanda Świątkowsk
Caro Mi'ele : il carteggio tra Michele e Giacomo Puccini nell'archivio di Torre del Lago
No full textTraduzione dallo spagnolo della corrispondenza di Michele Puccini, conservata presso la Fondazione Simonetta Puccini per Giacomo Puccin
Milva e Strehler nel segno di Brecht
No full textRicostruzione del rapporto tra Milva e Giorgio Strehler, alla luce della documentazione d'archivio conservata presso il Fondo Milva dell'Università di Bologn
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