Search results for "D’Annunzio"
showing 6 items of 6 documents
Una suggestione archilochea ne «La Città Morta»?
2020
This note proposes the hypothesis that in «La città morta», Act II, sc. I, d’Annunzio used a fragment of Archilochus, sent to us by Plutarch and Athenaeus.
D’Annunzio e il teatro fuori dal teatro
2017
<p>At the origin of the two stage shows there is the idea of commemoration: September 11, the anniversary of the march on Ronchi, for <em>La Figlia di Iorio</em> to Vittoriale in 1927 and the homage to the Vate who has disappeared for a few months to represent <em>La Nave</em> in Venice in 1938; two different ways of celebrating and ritualising the event/theatre out of the theatre. And while in the first case, in a celebratory context he himself cared for, d’Annunzio became an enthusiastic promoter of a significant updating of the theatrical practice, in 1938 the regime finalised the event to an exaggeration of the duce’s politics in the lagoon marking a substa…
Una suggestione archilochea ne La Città Morta?
2020
This note proposes the hypothesis that in La città morta, Act II, sc. I, d’Annunzio used a fragment of Archilochus, sent to us by Plutarch and Athenaeus.
Il paesaggio della Grecia nei Taccuini
2016
D’Annunzio does not dream, but really sees, leading an impressionistic and syncopated storytelling in which he portrays scenes of true reality. Léon Bakst (author of the theatrical productions of the Martyre de Saint Sébastien, La Pisanelle and Phaedra) similarly proceeds, drawing in some works, Narcisse (1911), L'Après-midi d'un Faune (1912), Daphnis et Chloé (1912), Helene de Sparte (1912), those figurative motifs that the poet notes in his travels, such as the intense green of nature, the austere red rocks, the arid and wild lands.
Cabiria, opera d'arte autonoma
2020
Cabiria is ‘an autonomous work of art’, between aesthetical and stylistic peculiarities. In order to legitimately recognise these specificities, we should not exalt the high level of the technical cleverness mixed with ‘tricks’ or mechanisms of technological artificiality. On the contrary, we should – first and foremost – be aware of the identity of the movie, expression of the figurative art which combines painting, sculpture, architecture, theatre and cinematograph, constitutive nucleus of a poetics of the marvellous, created by d’Annunzio’s fervid fantasy and by the director Pastrone, invention – though in a real historical context – precise as regards the chronological limits, of forms,…
Antonio Gramsci and Irredentism. Historical-ideological roots of an attempted meeting with Fiume legionaries
2018
In April 1921 Antonio Gramsci, co-founder of the Italian Communist Party, tried to meet Gabriele D’Annunzio, leader of the irredentist Fiume Endeavour. Though the attempt could apparently seem in contradiction with the internationalist tradition of Marxist ideology, it was perfectly coherent with the dialectical conception of the national problem, formalized by Gramsci in his early works and his Quaderni del carcere.