0000000001334853
AUTHOR
Sica, Anna
showing 2 related works from this author
The Application of the Acting Vocal Code-System of the Drammatica in the Eighteenth-Century Commedia dell'Arte
2016
Since the early nineteenth century some treatises by actors and teachers of declamation have included tables of the symbols and the applications of each declamation symbol. We individualise overlying and underlying symbols, compound and chained symbols. Nevertheless, historiographers and scholars have never compared the tables of the symbols with the markings still readable in actors’ prompt-books. They have been mainly preoccupied with textual history and stage history, neglecting any relevant investigation on the declamatory tradition in the eighteenth and nineteenth-century acting. In Italy the declamation method was completely deconstructed by the Italian academies of theatrical arts in…
Deciphering la drammatica
2014
Combining metrical structure with gesture and expressiveness, the nineteenth-century Italian actors drew a distinguished form of acting, to which they referred as la drammatica, that was based on a system of vocal modulation. La voce apposita was the predominant drammatica declamation symbol. It signalled an opening voice, or key-voice, which imposed grades and intonations on emotions. The drammatica included four dominant types of voce apposita. The leading actor/actress of a company as well as actor-manager (capocomico) portrayed his/her roles and effected his/her acting fellows’ work. When properly applied, the four types of voce apposita produced a spontaneous and attractive recitation.…