Search results for "Drammatica"
showing 10 items of 12 documents
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.…
Psychological Distance in Eleonora Duse’s Medievalism
2017
Arthur Symons (1865–1945) remarked that the acting of Eleonora Duse (1858–1924) was ‘a criticism’, and that she enriched the roles she played. In doing so she fulfilled the author’s intention as well as conveying the character’s tragic passion. In my previous studies on Duse I have explored intensively the explanation of why her acting was such a perfect blend of erudition and skilful vocalisation, giving her the methodology to create an individual character in every part she played. Undoubtedly, she was a cerebral actress and a grand tragedienne. On the one hand, she was able to use all the depths and tones of her voice to generate extraordinarily melodious elocution – hers was a seductive…
Prefazione all'Arte del comico
2014
La drammatica-metodo italiano: trattati normativi e testi teorici
2013
La drammatica-metodo italiano è un sistema di recitazione dimenticato, che tuttavia ha scritto una delle pagine più belle del teatro italiano. Il termine drammatica, riferito ad un novo stile o ad un metodo italiano, lo ritroviamo sia nei trattati sia nella memorialistica e, non di rado, entro la formula drammatica metodo italiano in diari e lettere di attori. I testi raccolti in questo volume ci restituiscono le fasi storiche della drammatica, dalle origini nei primi decenni del diciottesimo secolo fino alla sua completa dissoluzione nel Novecento. Gli attori vollero che la drammatica fosse considerata arte nazionale e, come tale, coltivata e trasmessa nelle Accademie di recitazione. Nei t…
Sub specie æternitatis: the role of the ruin and the ancient in the process of architectural renewal between metamorphosis and resurgence
2022
Composing new works of architecture inspired by vestiges from antiquity or archaeology. The reflections and the case study which will be proposed, pertaining to a recent design experiment for the archaeological area and Antiquarium of Tyndaris, are dedicated to this theme. Over and above any charm exerted by such places, by landscapes in which the ruins appear identical in substance and which sometimes manifest themselves as “sub specie æternitatis”, there are reasons linked to the very profession of architect and to the gashes in the crucible of controversies around the role of history in its contentious relationship with architectural design. That apart, the aporias revealed by Michel Fou…
Tommaso Salvini 1860: Fortinbras come Garibaldi al Teatro dei Fiorentini di Napoli
2021
Garibaldi landed in Marsala on 11 May 1860. In July of the same year, the Thousand were still fighting in Sicily with the aim of reaching Calabria, where they would have arrived on 1 August, and from there marched to Naples. And on the very evening of 14 July, on the stage of Florentines theatre in Naples, the leading actor Tommaso Salvini (1829-1915) presented a mutilated Hamlet, deprived above all of the most introspective and sentimental scenes, whose interpretation is still preserved in his prompt-book of Hamlet. The declamatory symbols marked by Salvini are still readable in the prompt-book of his 1860 interpretation that is now housed at the Museo Biblioteca dell’Attore, in Genoa. Und…
L’ARTE MASSIMA, Vol. I La rappresentativa nel novo stile: norme e pratica del metodo italiano di recitazione (1728-1860)
2017
Luigi Bonazzi scrive nel suo avviso “ai lettori”che in generale «l’attore drammatico porta tutto se stesso nella tomba» . Quanta romantica affabulazione in tale assunto! Peccato che Bonazzi non abbia detto la verità!Gli attori della rappresentativa e del novo stile non solo non portarono via con sé il segreto della loro arte ma ci hanno lasciato una documentazione più che cospicua, tale da consentirci di riscoprirne sia le normative sia le regole d’applicazione. Sebbene in alcuni studi di qualche anno fa sulla recitazione ottocentesca si sia notato che nei copioni ci sono segni che potrebbero far parte di convenzioni codificate , non si è poi ulteriormente indagato per comprenderne il signi…