- Università degli Studi di Cagliari, Humanities, AdjunctUniversità degli Studi di Palermo, Scuola delle Scienze umane e del patrimonio culturale, Graduate Student, and 3 moreadd
- I hold a PhD in Letters (curriculum “Theatre and music”) at the University of Turin, in co-tutorship at the Universit... moreI hold a PhD in Letters (curriculum “Theatre and music”) at the University of Turin, in co-tutorship at the Université Paris 8, with a thesis on Carmelo Bene’s melologues and declamation. My field of research concern Italian and French theatre pedagogy in the XIX century, with a particular focus on Luigi Rasi (1852-1918) and the Royal School of Acting of Florence, declamation, and, more recently, theatre anthropology.edit
The paper focuses on the solo-performance An ordinary day of the dancer Gregorio Samsa by Eugenio Barba, Julia Varley and Lorenzo Gleijeses and performed by Gleijeses since 2016. After a process of creation lasted over five years, through... more
The paper focuses on the solo-performance An ordinary day of the dancer Gregorio Samsa by Eugenio Barba, Julia Varley and Lorenzo Gleijeses and performed by Gleijeses since 2016. After a process of creation lasted over five years, through numerous rewriting processes and partially inspired by Kafka’s Metamorphosis, the performance deals with the difficult relationship between a young artist and his main reference figures (a demanding father, an authoritarian theatre director, a worried partner, a schematic psychologist). On stage, the actor’s score develops around an obsessive repetition of movements and actions, performed with modulation of intensity and rhythm. From the circularity of the theatrical repetitions, however, the work of the actor creates a more linear, perhaps vertical, path, which aims at self-purification through exhausting effort, at the precision of craftsmanship, and which, in the finale, questions the possibility of transcendence in the incompleteness of the artistic creation. The inexhaustible and essential search for a performative work based on the organic nature of the actor-dancer, explored as the quintessence of human existence, is therefore both a ‘condemnation’ and a possibility of elevation offered by the theatre performance. Surrounded by a refined lighting and sound apparatus, the actor-dancer acts in a multi-sensorial context within which a new poetics of space unravels. Reflecting upon these elements, the paper intends to offer a reconstruction of the genesis and creative process of the performance, also comparing it with some of Barba’s previous works and with his theatrical career.
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This article is based on the broad network of interests established by Eugenio Barba in the first decade of ISTA with the world of science: a fertile, lively relationship with figures inside and outside the world of theatre. With the... more
This article is based on the broad network of interests established by Eugenio Barba in the first decade of ISTA with the world of science: a fertile, lively relationship with figures inside and outside the world of theatre. With the contribution of archival documents preserved in the Odin Teatret Archives, the article focuses on certain artistic and intellectual episodes that exemplify the relational dialectics of interpenetration, exercised in two opposing tensions (one of approach outwards, the other of attraction inwards), implemented by Barba in a vast knowledge-seeking project, unprecedented in the history of the theatre. It was also based on these premises that Barba promoted the concept of theatre anthropology as a plural, interdisciplinary and intercultural living discipline: a discipline founded on the study of human beings and the history of cultures, combining a purely humanistic approach with new research from the so-called hard sciences. The impact and wide range of interaction of theatre anthropology as a new subject in the field of knowledge subsequently gave rise, over following decades, to ample literature hosting a lively and constructive debate.
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Relazioni dimenticate: note in margine a una nozione del comico fra Benedetto Croce e Luigi Rasi, in "«Vi metto fra le mani il testo affinché ne possiate diventare voi gli autori». Scritti per Franco Perrelli", a cura di S. Brunetti, A. Petrini, E. Randi, Edizioni di Pagina, Bari 2022, pp. 92-99more
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The article focuses on the solo performance "El Romancero de Edipo", created by Eugenio Barba together with the Spanish actor Toni Cots, and staged in several countries between 1984 to 1990. The performance was the very first monologue... more
The article focuses on the solo performance "El Romancero de Edipo", created by Eugenio Barba together with the Spanish actor Toni Cots, and staged in several countries between 1984 to 1990. The performance was the very first monologue directed by Barba in his long-standing career. For Barba, it was also the first direct approach to the tragic myth, following an interest already cultivated around the figure of Antigone from the early Eighties onwards, in a moment of crisis and need for renewal for the groups of the “Third Theatre” movement, defined by Barba in 1976. For Cots, the monologue was the last and culminating part of his almost ten-year experience as an actor at the Odin Teatret, where he had also developed a personal actor’s training technique (in part based on Balinese traditional dances) and had accompanied Barba through the first research activities in the new field of Theatre Anthropology. With "El Romancero of Edipo", Barba explored the tragic myth and elaborated an original theatrical narration based on the creative process of the actor, within which lay the rhythm of the montage. The text was therefore sustained by a rigorous score by the actor and by a detailed line of physical and vocal actions, making use of simple but very effective scenic props such as a vase, a self-built mask, drapery, a wig, and a stick. In addition, the use of songs and melodies, as well as other literary sources, extended the performative language of the artwork, giving life to an innovative re-elaboration rich in transcultural influences. By analysing all these elements, the article ‘deconstructs’ the performance, retracing its sources and its development between the actor and the director.
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The article examines some of Eugenio Barba’s study material now preserved in the Fonds Barba at Odin Teatret Archives (ISTA Series, b. 1). Barba’s readings preceding the first edition of the ISTA in Bonn in 1980 trace the development of... more
The article examines some of Eugenio Barba’s study material now preserved in the Fonds Barba at Odin Teatret Archives (ISTA Series, b. 1). Barba’s readings preceding the first edition of the ISTA in Bonn in 1980 trace the development of interests cultivated by the director, from humanities to science (biology, neuropsychology, studies of perception, posturology). Even before developing the theory of theatre anthropology as an autonomous discipline, Barba evolved many fertile perspectives of study on energy, within which he expanded the understanding of presence as a fundamental component of theatre. Barba’s reading notes reveal an intellectual approach similar to his artistic work: the accumulation of an overabundance of material, which in the theoretical sphere, too, invert the principle of maximum results with minimum effort.
https://jta.ista-online.org/article/view/11
https://jta.ista-online.org/article/view/11
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10.5281/zenodo.3653337
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The essay focuses on the music and theatre performances led by Luigi Rasi, Director of the “Regia Scuola di Recitazione di Firenze” (Royal School of Acting of Florence since 1882 to 1918. Actor, writer, historian of theatre and teacher of... more
The essay focuses on the music and theatre performances led by Luigi Rasi, Director of the “Regia Scuola di Recitazione di Firenze” (Royal School of Acting of Florence since 1882 to 1918. Actor, writer, historian of theatre and teacher of declamation, Rasi brought on stage several melodramas, from Bürger’s Lenore to Schumann’s Manfred. In collaboration with the “Regio Istituto Musicale di Firenze” (Royal Music Institute of Florence) and in dialogue with different European intellectuals (among others, Arnaldo Bonaventura, Edward Dent, Edgardo Maddalena) Rasi researched a new relationship between music and declamation, a field of experimentation which would have later found a larger fortune also in Italy.
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The “musical turn” of Carmelo Bene’s production begun in 1979 and remains little explored. However, it was one of the culminating moments in which the relation between the voice, the music and the listening were pushed to the limit of the... more
The “musical turn” of Carmelo Bene’s production begun in 1979 and remains little explored. However, it was one of the culminating moments in which the relation between the voice, the music and the listening were pushed to the limit of the “suspension of the tragic” and achieved full realisation. This article examines the earliest of these musical performances by Carmelo Bene: the Manfred originally written by Lord Byron and with musics by Schumann. The essay highlights also intriguing similarities between the use of the voice in Manfred and in the history of the Italian theatre, suggesting a possible confluence of nineteenth century declamatory techniques.
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The essay proposes an investigation into the classification of the four metals of the voice (bronze voice, golden voice, silver voice and veiled voice) presented in Italy by Luigi Rasi, director of the Royal School of Acting of Florence... more
The essay proposes an investigation into the classification of the four metals of the voice (bronze voice, golden voice, silver voice and veiled voice) presented in Italy by Luigi Rasi, director of the Royal School of Acting of Florence from 1882 to 1918 and author, between the others, of a treatise on declamation ("La lettura ad alta voce", Florence 1883). Through a study conducted in a large number of literary and historical texts, the essay intends to present the variety of sources which marked the birth and the fortune of this classification of the voice. Within this context, Rasi’s fundamental contribution configures the passage from a literary model into a theatrical one, systematizing this classification and placing it at the service of the teaching of the art of reading aloud, considered as a true science on stage.
http://www.unior.it/ateneo/4364/1/annali-sezione-romanza.html
http://www.unior.it/ateneo/4364/1/annali-sezione-romanza.html
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The essay focuses on four different mise-en-scène of the Manfred by Lord Byron with musics by Schumann which took place in France between 1886 and 1912, thanks to four different protagonists of the French and European theatre of those... more
The essay focuses on four different mise-en-scène of the Manfred by Lord Byron with musics by Schumann which took place in France between 1886 and 1912, thanks to four different protagonists of the French and European theatre of those years: Jean Mounet-Sully, Aurélien Lugné-Poe, Adolphe Appia, and Émile Moreau. Using their peculiar qualities as actors and directors, each of them found in the Manfred, a poem which was originally intended by Lord Byron as not to be staged, an opportunity to discover new areas of experimentation in their artistic and theatrical careers: the musicality of the declamation for Mounet-Sully, the research on new theatrical languages for Lugné-Poe, the uses of lights and stage design for Appia, and the relations between opera, music and spoken text for Moreau.
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The artistic path of young Gabriellino d'Annunzio, undertaken against his father's will, has a decisive starting point with the frequentation of the Royal School of Acting in Florence between 1904 and 1905. The director of the School is... more
The artistic path of young Gabriellino d'Annunzio, undertaken against his father's will, has a decisive starting point with the frequentation of the Royal School of Acting in Florence between 1904 and 1905. The director of the School is the Italian actor and man of letters Luigi Rasi, with whom d'Annunzio himself, with the mediation of Eleonora Duse, has different artistic collaborations from the debut of Gioconda in 1899 to the rehearsals of Francesca da Rimini in 1901. Gabriellino takes part in the 'artistic lectures' directed by Rasi, whose teachings constitute an important trace in his future theatrical career. Two letters from Rasi to d'Annunzio and the correspondence of Gabriellino with the other students of the School, along with their memories, allow to understand more clearly the cultural and literary value of a theatre that was first of all, as later defined by Marino Moretti, «a meeting of poets in the search of the new».
http://edizionicafoscari.unive.it/it/edizioni/riviste/archivio-dannunzio/2017/4/
http://edizionicafoscari.unive.it/it/edizioni/riviste/archivio-dannunzio/2017/4/
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Which is the relationship between the literary works of Carmelo Bene and his theatre? Which the nature and which the value of his literary works, beyond his theatrical performances? A recent book by Simone Giorgino, L’ultimo trovatore. Le... more
Which is the relationship between the literary works of Carmelo Bene and his theatre? Which the nature and which the value of his literary works, beyond his theatrical performances? A recent book by Simone Giorgino, L’ultimo trovatore. Le opere letterarie di Carmelo Bene analyses Bene’s literary works in prose and in poetry, including the late and unpublished poem, Leggenda. Using the instruments of literary criticism, Giorgino retraces the extraordinary rich influences, the styles and the innovative experimentations of Carmelo Bene’s writing, unfolding a new field of investigation still largely unexplored. The article moves from Giorgino’s analysis and discusses some of his thesis in order to call for a new unitary approach to Bene’s production, a production marked by a strong cultural commitment which still expects to be fully recognized. If it is not time to provide definitive answers, new perspectives lay open to the historiography on Carmelo Bene.
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Eclectic protagonist of the late Mantuan Renaissance, Gabriele Bertazzolo (1570-1626) is mainly known for his work as an engineer. In the theatrical sphere, he was not only the creator of majestic pyrotechnics, but also a dramatic author,... more
Eclectic protagonist of the late Mantuan Renaissance, Gabriele Bertazzolo (1570-1626) is mainly known for his work as an engineer. In the theatrical sphere, he was not only the creator of majestic pyrotechnics, but also a dramatic author, which has remained unpublished to this day. One of his greatest efforts is "La Gonzaga. Opera drammatica rappresentante l’origine de’ signori Gonzaghi nel dominio di Mantova", the text of which is presented here in a critical edition, accompanied by an apparatus of notes and an introductory essay. Characterised by encomiastic intentions and by historiographical vocation, the work retraces, albeit with occasional but daring use of irony, the events of 16 August 1328 relating to Luigi Gonzaga's rise to power. In the background, variegated figures of court life act in the background, of whom Bertazzolo provides a vivid and salacious portrait, rich in references to the reality of his own time.
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Teatro, letteratura e ricerca si intrecciano indissolubilmente nell’opera e nella vita di Luigi Rasi (1852-1918), direttore della Regia Scuola di Recitazione di Firenze e ultimo esponente di un’illustre tradizione ottocentesca di... more
Teatro, letteratura e ricerca si intrecciano indissolubilmente nell’opera e nella vita di Luigi Rasi (1852-1918), direttore della Regia Scuola di Recitazione di Firenze e ultimo esponente di un’illustre tradizione ottocentesca di insegnamento della declamazione come disciplina principe della scena. Figura ibrida di attore, studioso e docente, dotato di una vasta cultura, Rasi seppe attraversare i confini tra le arti, in dialogo con le istanze del suo tempo e in una prospettiva europea. La sua concezione della scena fu in grado di coniugare la storia con la sperimentazione: entro questo contesto egli concepì la formazione teatrale come un tassello fondamentale di un più ampio progetto di riforma del teatro italiano e del suo rapporto con la società, dai cui semi fecondi sarebbero scaturiti frutti anche nei decenni successivi del Novecento. Grazie anche alla valorizzazione di materiali e di carteggi inediti, il volume ricostruisce in una prospettiva unitaria la figura e l’attività di Rasi e ne spiega il contributo determinante, lungo direzioni inedite, alla storia del teatro.
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All’apice della sua multiforme carriera, estesa dal teatro alla letteratura, dalla radio al cinema e alla televisione, Carmelo Bene propose sulle scene italiane un genere ibrido che era stato senz’altro minore nella storia del teatro... more
All’apice della sua multiforme carriera, estesa dal teatro alla letteratura, dalla radio al cinema e alla televisione, Carmelo Bene propose sulle scene italiane un genere ibrido che era stato senz’altro minore nella storia del teatro europeo, ma sempre presente e gravido di conseguenze per gli sviluppi delle arti della scena e della musica. La stagione dei melologhi fu, da un lato, frutto di intuizioni e di sensibilità condivise con alcuni protagonisti della scena musicale di quegli anni; dall’altro, fu l’esito di percorsi storici e di eredità culturali, oggetto di scavo in questo studio, che consentono di rintracciare alcune fonti inattese nella poetica dell’attore salentino. Il libro si conclude con una sezione dedicata alla rielaborazione da parte di Bene del "Manfred" di Byron-Schumann, esaminata attraverso l’ampio ventaglio degli strumenti dispiegati dall’attore per esaltare la presenza vocale e la forza espressiva del poema drammatico con musica.
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L’intervento è dedicato all’"Hyperion" di Bruno Maderna presentato nel 1980 da Carmelo Bene all’Auditorium di Santa Cecilia, con la direzione di Marcello Panni, e nel 1981 con l’Orchestra e con il coro RAI di Milano. Concepito come “suite... more
L’intervento è dedicato all’"Hyperion" di Bruno Maderna presentato nel 1980 da Carmelo Bene all’Auditorium di Santa Cecilia, con la direzione di Marcello Panni, e nel 1981 con l’Orchestra e con il coro RAI di Milano. Concepito come “suite per flauto, oboe, voce recitante, coro e orchestra”, l’"Hyperion" rappresentò una seconda prova nella cosiddetta “svolta musicale” di Bene, avviata nel 1979 con il "Manfred" di Byron-Schumann, all’insegna dell’esplorazione dei rapporti fra la declamazione e la musica nell’ambito della "phoné". Come artefice, Bene elaborò una partitura personale la cui analisi può oggi rivelare alcuni aspetti fondamentali della sua poetica, dalle scelte testuali, di traduzione e stilistiche sino alla resa orale. Ai fini dell’analisi comparativa, l’intervento si avvarrà di due documenti di particolare rilevanza: il copione inedito di Bene, ricco di annotazioni a margine di ordine tecnico e interpretativo, e la registrazione sonora dello spettacolo, di recente pubblicazione dopo un lungo oblio.
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The paper focuses on the solo-performance "An Ordinary Day of the Dancer Gregorio Samsa" created by Eugenio Barba, Julia Varley and Lorenzo Gleijeses and performed since 2016. The pièce, which sees Gleijeses on stage as a solo performer,... more
The paper focuses on the solo-performance "An Ordinary Day of the Dancer Gregorio Samsa" created by Eugenio Barba, Julia Varley and Lorenzo Gleijeses and performed since 2016. The pièce, which sees Gleijeses on stage as a solo performer, has followed an intense process of development over five years, through numerous rewriting processes. Partially inspired by Kafka’s "Metamorphosis", the performance deals with the difficult relationship between a young artist and his main reference figures (a demanding father, an authoritarian theatre director, a worried partner, a schematic psychologist). On stage, the actor’s score develops around an obsessive repetition of movements and actions, performed with modulation of intensity and rhythm. From the circularity of the theatrical repetitions, however, the work of the actor creates a more linear, perhaps vertical, path, which aims at self-purification through exhausting effort, at the precision of craftsmanship, and which, in the finale, questions the possibility of transcendence in the incompleteness of the artistic creation. The inexhaustible and essential search for a performative work based on the organic nature of the actor-dancer, explored as the quintessence of human existence, is therefore both a ‘condemnation’ and a possibility of elevation offered by the theatre performance. Sorrounded by a refined lighting and sound apparatus, the actor-dancer acts in a multi-sensorial context within which a new poetics of space unravels. Reflecting upon these elements, the paper intends to offer a reconstruction of the genesis and creative process of the performance, also comparing it with some of Barba’s previous works and theatrical thought.
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Liminal online spaces: global participation and knowledge exchange through the cross-cultural ecology of the digital This event is organised by the Practice Research Cluster: Finding and Understanding Creative Knowledge. Join us for a... more
Liminal online spaces: global participation and knowledge exchange through the cross-cultural ecology of the digital
This event is organised by the Practice Research Cluster: Finding and Understanding Creative Knowledge.
Join us for a discussion on the global digital shifts in dynamics of knowledge exchange, performance research and practical apprenticeship encountered over the pandemic.
With a focus on participation and embodiment of practice through the digital medium, three online events will be considered as case studies: Bodies:On:Live, the first online festival of the Magdalena Project (June 2021), the ‘Meetings on Third Theatre and Theatre Anthropology - A tribute to Eugenio Barba: 85 years of life, 60 years of theatre, 34 years of encounters in Brazil’, broadcast on the YouTube channel Terceiro Teatro (September-November 2021), and the Digital Course of the ISTA/NG - International School of Theatre Anthropology / New Generation held in Favignana, Italy (October 2021).
These events brought together international practitioners and scholars in generating a context for shared practice and research intended for global live participation through the internet. They are also producing extensive online documentation, which is now forming digital and immaterial archives, recording the shifts in modes of knowledge exchange that have occurred as a response to the physical disconnection experienced in the pandemic.
A Q&A will follow the presentations.
Speakers:
Ricardo Gomes (he/his) is Associate Professor at the Department of Performing Arts of the Federal University of Ouro Preto, Brazil. He is artistic director with Priscilla Duarte of Teatro Diadokai.
Leonardo Mancini (he/his) is Research Fellow in Performing Arts at the University of Turin and Teaching Fellow in Theatre History at University of Pavia, Italy. He is Managing Editor of the Journal of Theatre Anthropology.
Bianca Mastrominico (she/her) is Programme Leader of MA Digital Performance and an associate member of the Centre for Communication, Cultural and Media Studies at Queen Margaret University. Bianca is co-artistic director of award-winning performance laboratory Organic Theatre.
Translation from Portuguese into English by Janaina Matter, performer and artistic director of Súbita Companhia de Teatro, Brazil.
https://www.eventbrite.co.uk/e/liminal-online-spaces-tickets-219850929047
This event is organised by the Practice Research Cluster: Finding and Understanding Creative Knowledge.
Join us for a discussion on the global digital shifts in dynamics of knowledge exchange, performance research and practical apprenticeship encountered over the pandemic.
With a focus on participation and embodiment of practice through the digital medium, three online events will be considered as case studies: Bodies:On:Live, the first online festival of the Magdalena Project (June 2021), the ‘Meetings on Third Theatre and Theatre Anthropology - A tribute to Eugenio Barba: 85 years of life, 60 years of theatre, 34 years of encounters in Brazil’, broadcast on the YouTube channel Terceiro Teatro (September-November 2021), and the Digital Course of the ISTA/NG - International School of Theatre Anthropology / New Generation held in Favignana, Italy (October 2021).
These events brought together international practitioners and scholars in generating a context for shared practice and research intended for global live participation through the internet. They are also producing extensive online documentation, which is now forming digital and immaterial archives, recording the shifts in modes of knowledge exchange that have occurred as a response to the physical disconnection experienced in the pandemic.
A Q&A will follow the presentations.
Speakers:
Ricardo Gomes (he/his) is Associate Professor at the Department of Performing Arts of the Federal University of Ouro Preto, Brazil. He is artistic director with Priscilla Duarte of Teatro Diadokai.
Leonardo Mancini (he/his) is Research Fellow in Performing Arts at the University of Turin and Teaching Fellow in Theatre History at University of Pavia, Italy. He is Managing Editor of the Journal of Theatre Anthropology.
Bianca Mastrominico (she/her) is Programme Leader of MA Digital Performance and an associate member of the Centre for Communication, Cultural and Media Studies at Queen Margaret University. Bianca is co-artistic director of award-winning performance laboratory Organic Theatre.
Translation from Portuguese into English by Janaina Matter, performer and artistic director of Súbita Companhia de Teatro, Brazil.
https://www.eventbrite.co.uk/e/liminal-online-spaces-tickets-219850929047
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Among the first critical works of Lucio Ridenti (1895-1973), director of the prestigious journal «Il Dramma» since 1926, the biographical novel "La vita gaia of Dina Galli" offers a vivid and personal testimony on one of the most iconic... more
Among the first critical works of Lucio Ridenti (1895-1973), director of the prestigious journal «Il Dramma» since 1926, the biographical novel "La vita gaia of Dina Galli" offers a vivid and personal testimony on one of the most iconic and beloved comic actresses of the early 20th century Italian: Dina Galli (1877-1951). Having emerged in the Milanese dialect theater and achieved national success in the repertoire of the French pochades, Dina Galli was paid homage by Ridenti as the last exponent of an ancient and illustrious actor tradition on the verge of extinction, against the background of rapidly transforming artistic and social processes. The esteem and personal knowledge, acquired between 1917 and 1924 within the ambit of the successful Galli-Guasti-Bracci Company, ensured the author a rich baggage of experience, on the basis of which he was finally able to construct a historiographical narrative at times ironic, affectionate and familiar. Appeared in 1928 in the magazine «Novella» and then collected the following year as a volume by the publisher Corbaccio with drawings by Erberto Carboni (1899-1984), the book is now reprinted in a new edition, accompanied by an introductory essay that examines the Ridenti's novel against the background of the Italian theater of his time.
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Among the first critical works of Lucio Ridenti (1895-1973), director of the prestigious journal «Il Dramma» since 1926, the biographical novel "La vita gaia of Dina Galli" offers a vivid and personal testimony on one of the most iconic... more
Among the first critical works of Lucio Ridenti (1895-1973), director of the prestigious journal «Il Dramma» since 1926, the biographical novel "La vita gaia of Dina Galli" offers a vivid and personal testimony on one of the most iconic and beloved comic actresses of the early 20th century Italian: Dina Galli (1877-1951). Having emerged in the Milanese dialect theater and achieved national success in the repertoire of the French pochades, Dina Galli was paid homage by Ridenti as the last exponent of an ancient and illustrious actor tradition on the verge of extinction, against the background of rapidly transforming artistic and social processes. The esteem and personal knowledge, acquired between 1917 and 1924 within the ambit of the successful Galli-Guasti-Bracci Company, ensured the author a rich baggage of experience, on the basis of which he was finally able to construct a historiographical narrative at times ironic, affectionate and familiar. Appeared in 1928 in the magazine «Novella» and then collected the following year as a volume by the publisher Corbaccio with drawings by Erberto Carboni (1899-1984), the book is now reprinted in a new edition, accompanied by an introductory essay that examines the Ridenti's novel against the background of the Italian theater of his time.
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"L’arte del comico" costituisce un prezioso compendio pratico e teorico sull’arte dell’attore, opera di uno dei più importanti e poliedrici uomini del teatro italiano a cavallo tra l’Ottocento e il Novecento. Ricco di esercizi e di... more
"L’arte del comico" costituisce un prezioso compendio pratico e teorico sull’arte dell’attore, opera di uno dei più importanti e poliedrici uomini del teatro italiano a cavallo tra l’Ottocento e il Novecento. Ricco di esercizi e di aneddoti teatrali, "L’arte del comico" tratta la sfera dell’attore con una prospettiva a tutto campo: dal gesto allo studio della parola e delle intonazioni, dall’interpretazione alla fisionomia e al costume. Il testo si conclude infine con un capitolo dedicato agli artisti di canto. "L’arte del comico" ci offre inoltre una testimonianza unica su uno dei capitoli più dimenticati, eppure centrali, della nostra tradizione teatrale: l’arte della lettura e la declamazione in versi. A oltre un secolo dalla prima stampa, questa riedizione si presenta con un apparato di note, una prefazione e un saggio introduttivo che gettano nuova luce sul valore dell’insegnamento e dell’opera artistica di Luigi Rasi.
"L’arte del comico" is a precious practical and theoretical compendium on the art of the actor, written by one of the most important and polyhedral Italian men of theatre between the XIX and the XX Century. Rich of exercises and anecdotes, "L’arte del comico" treaties the actor’s sphere with a 360° perspective: from the gesture to the study of the word and intonations, from interpretation to physiognomy and costumes. The text closes with a chapter dedicated to singers. Furthermore, "L’arte del comico" offers us a unique perspective over an essential, though forgotten, aspect of our acting tradition: the art of reading and the declamation of verses. More than one century after the first print, this reedition comes with an apparatus of notes, a preface and an introduction which spread new light over the value of the teaching and the artistic opus of Luigi Rasi.
"L’arte del comico" is a precious practical and theoretical compendium on the art of the actor, written by one of the most important and polyhedral Italian men of theatre between the XIX and the XX Century. Rich of exercises and anecdotes, "L’arte del comico" treaties the actor’s sphere with a 360° perspective: from the gesture to the study of the word and intonations, from interpretation to physiognomy and costumes. The text closes with a chapter dedicated to singers. Furthermore, "L’arte del comico" offers us a unique perspective over an essential, though forgotten, aspect of our acting tradition: the art of reading and the declamation of verses. More than one century after the first print, this reedition comes with an apparatus of notes, a preface and an introduction which spread new light over the value of the teaching and the artistic opus of Luigi Rasi.
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"Eugenio Barba. L’albero della conoscenza dello spettacolo" offre un resoconto inedito sull’opera di Eugenio Barba. Assumendo lo spettacolo dell’Odin Teatret "L’albero" (2016) come punto di partenza, il libro spazia negli ambiti storico,... more
"Eugenio Barba. L’albero della conoscenza dello spettacolo" offre un resoconto inedito sull’opera di Eugenio Barba. Assumendo lo spettacolo dell’Odin Teatret "L’albero" (2016) come punto di partenza, il libro spazia negli ambiti storico, immaginifico e pratico del lavoro di Barba. Attraverso l’immagine dell’albero come metafora concettuale e spaziale, il volume offre una narrazione di prima mano su tematiche quali gli spettacoli di Barba, l’interculturalismo, il teatro di comunità, e introduce nuove aree d’indagine dal pensiero paradossale alla drammaturgia, dall’esilio all’eredità. In questo modo, il libro disvela ambiti inediti della scrittura di Barba. Kuhlmann e Ledger, grazie a una collaborazione insolita nel campo degli studi artistici, hanno concepito l’opera di Barba non tanto come un resoconto cronologico, quanto come una struttura organizzativa di tipo reticolare: forniscono così una trattazione contemporanea, coinvolgente e poetica, del paesaggio creativo di questo influente regista.
"Eugenio Barba. L’albero della conoscenza dello spettacolo" offers an original account of the work of Eugenio Barba. Using the Odin Teatret’s performance "L’albero" (2016) as a starting point, the book ranges widely across historical, imagistic and practical areas of Barba’s work. Developing the image of ‘the tree’ as a conceptual and spatial metaphor, the book offers a fist-hand account of topics such as Barba’s performances, interculturalism and community performance, but also introduces new areas of enquiry, such as his paradoxical ideas, dramaturgy, exile and legacy. Throughout, it also reveals Barba’s extensive writings. Rather than a chronological account, Kuhlmann and Ledger’s collaboration, unusual in arts scholarship, has conceived of Barba’s work as a web-like organisational structure. It provides a contemporary, engaging and poetic treatment of the landscape of this highly influential director’s work.
https://www.cuepress.com/catalogo/eugenio-barba
"Eugenio Barba. L’albero della conoscenza dello spettacolo" offers an original account of the work of Eugenio Barba. Using the Odin Teatret’s performance "L’albero" (2016) as a starting point, the book ranges widely across historical, imagistic and practical areas of Barba’s work. Developing the image of ‘the tree’ as a conceptual and spatial metaphor, the book offers a fist-hand account of topics such as Barba’s performances, interculturalism and community performance, but also introduces new areas of enquiry, such as his paradoxical ideas, dramaturgy, exile and legacy. Throughout, it also reveals Barba’s extensive writings. Rather than a chronological account, Kuhlmann and Ledger’s collaboration, unusual in arts scholarship, has conceived of Barba’s work as a web-like organisational structure. It provides a contemporary, engaging and poetic treatment of the landscape of this highly influential director’s work.
https://www.cuepress.com/catalogo/eugenio-barba
Research Interests:
Vincitrice dell’ottavo Premio di Poesia Gabriel Ferrater (2009), "La caccia dell’uomo" è una rilettura odierna in forma poetica del Re Lear di Shakespeare. Fedele alla struttura della tragedia classica, "La caccia dell’uomo" è la prima... more
Vincitrice dell’ottavo Premio di Poesia Gabriel Ferrater (2009), "La caccia dell’uomo" è una rilettura odierna in forma poetica del Re Lear di Shakespeare. Fedele alla struttura della tragedia classica, "La caccia dell’uomo" è la prima opera poetica catalana composta in distici di versi ottonari e decasillabi. La presente traduzione italiana mantiene intatto questo schema metrico, preservando allo stesso tempo l’unità formale e il contenuto.
Winner of the eigth Prize for Poetry Gabriel Ferrater (2009), "The hunt of the man" by Albert Balasch is a contemporary catalan poem inspired from the King Lear of Shakespeare. Loyal to the structure of the classical tragedy, "The hunt of the man" is the first catalan poetic work written in couplets of ennéasyllabes and hendecasyllables. The Italian translation maintains integer this metrical scheme, preserving at the same time the formal unity and the content.
Winner of the eigth Prize for Poetry Gabriel Ferrater (2009), "The hunt of the man" by Albert Balasch is a contemporary catalan poem inspired from the King Lear of Shakespeare. Loyal to the structure of the classical tragedy, "The hunt of the man" is the first catalan poetic work written in couplets of ennéasyllabes and hendecasyllables. The Italian translation maintains integer this metrical scheme, preserving at the same time the formal unity and the content.
Research Interests:
Deadline for submissions: 31 March 2021
Web: https://www.ojs.unito.it/index.php/filosofia/announcement/view/105
Web: https://www.ojs.unito.it/index.php/filosofia/announcement/view/105