Search results for "Spettacolo"
showing 10 items of 127 documents
ARCHITETTURA SCENICA E TEATRO URBANO
2007
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.…
The Reform of the Rappresentativa: Roots and Routes of a National Art
2015
Curated Panel: Italian Acting I explore the remarkable role that the reform of the old Rappresentativa played in the years of Risorgimento, and examine the differences of application of the declamatory symbols in the old Rappresentativa and in the New Style that is referred as la romantica, or Drammatica, analysing Gustavo Modena, Adelaide Ristori and Gaetano Gattinelli’s prompt books and works. Gustavo Modena reformed the old style of the Rappresentativa and was an unforgettable patriot of Risorgimento as well as Ristori and Gattinelli. I explain how Modena steered the drammatica along a new course in the first fifty years of the nineteenth century and shaped the method giving it the goal …
Eleonora Duse's Library: The Disclosure of Aesthetic Value in Real Acting
2010
Even though Eleonora Duse (1858-1924) referred to her books as her own artistic wardrobe, her most highly valued possessions, scholars and biographers have insisted on neglecting her library and furthermore, have for many years considered it lost forever. This article explains the value of the founding and reconstructing of the Murray Edwards Eleonora Duse Collection in Cambridge. She specifically refers to a selection of books which have been renamed 'Cleopatra's Books'. They are remarkable examples which are representative of Duse's library as a whole and lay bare the roots of Duse's intellectual evolution. Many have believed the romantic notion that Duse acted out her own personal life o…
Akustische Masken auf dem Theater/ Maschere acustiche in teatro: Text - Sprache - Performanz/ Testo - Lingua - Performance
2019
I molteplici interessi scientifici e professionali - teatrologici, storici, linguistici, derivanti dall'attuale prassi attoriale e registica - che sono alla base di questi saggi offrono un quadro sfaccettato e complesso delle riflessioni sul discorso della comunicazione teatrale nei due paesi, le cui peculiarita, piu che le somiglianze, spiccando nel confronto, gettano una luce incrociata particolarmente interessante. Il filo rosso che si intreccia alla trama di questi contributi e senz'altro il complesso rapporto che lega la parola del testo teatrale con quella che si realizza sulla scena, ovverosia cio che in realta si puo definire lo specifico dell'evento teatrale in se, il quale si real…
Fantasmata: Percorsi di un'Expo
2014
Ariosto barocco e neobarocco
2010
A partire dall’analisi di quello spettacolo di svolta nella storia del teatro contemporaneo che è stato lo Orlando Furioso di Ronconi-Sanguineti, si sviluppa un prolungato ed analitico excursus sulla vitalità del “mitemi” del gran poema dell’Ariosto dal Rinascimento ai nostri giorni, attraverso le innumerevoli rielaborazioni delle spettacolo - teatro di drammaturgia, teatro d’opera, pastorale, danza, teatro di varietà, etc. - e quelle dei media - cinema, TV, fumetto, arti in genere. Dal “Concerto Caccini” al “balletto equestre”, da Lulli ad Händel, da Vivaldi ad Haydn, da Millos alla “modern dance”, emerge così l’importanza degli archetipi mitici che hanno ispirato per cinque secoli tutte l…
La virtualità scenica dell'Atto della Pinta
2010
Reportage da Berlino megalopoli
2009
Anton Čechov, Il giardino dei ciliegi
2023
Anton Chekhov wrote his last play, Višnëvyj sad (The Cherry Orchard), at the dawn of the twentieth century. From Yalta on 22 April 1901 he sent a letter to the Moscow Art Theater’s actress Olga Knipper, whom he would marry within a year, telling her that he was tempted to write a four acts vaudeville or a comedy, and would have been able to send it to the Art Theatre «not before the end of 1903». So it was. And so it takes shape for the scene The Cherry Orchard; Chekhov managed to create «a spider's web» with which he captured the attention and the mind of the spectators of the first opening of the play in 1904, as well as of every subsequent re-run on all the stages of the world. The Cherr…