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    Tytuł:
    Il desiderio di utopia. Elementi per definire la costruzione delle distopie teatrali polacche
    Longing for Utopia: the Construction of Polish Distopic Theatre. Some Considerations
    Autorzy:
    Minczewa, Barbara
    Powiązania:
    https://bibliotekanauki.pl/articles/28409109.pdf
    Data publikacji:
    2016
    Wydawca:
    Associazione Italiana Polonisti (AIP)
    Tematy:
    Jan Klata
    Polish theatre
    engaged theatre
    political theatre
    dystopia
    utopia
    Solidarność
    Opis:
    The paper concerns some elements of the construction of worlds represented on stage in recent Polish theatre. This may be seen as a comment on the state of democratic Poland after 1989 and, more generally, as an analysis of the peculiarities of the contemporary world. However, a deeper analysis shows recent theatre staging as structurally similar to the construction of dystopias. The worlds represented on stage are characterized by the presence of a nonlinear construction of time, by the absence of ending, of a horizon and of death, by the presence of ruins (intended literally, as an aesthetic paradigm, and metaphorically) and by the construction of dystopian characters. The analysis focuses on one of the most important performances for the Polish political theatre of the last two decades, H. (2004), a version of Hamlet directed by Jan Klata, performed in the historic and derelict Gdańsk Shipyard, a symbolic stage set which becomes at the same time the place of fulfilment of dystopia and of the emergence of the desire for utopia.
    Źródło:
    pl.it / rassegna italiana di argomenti polacchi; 2016, 7; 171-185
    2384-9266
    Pojawia się w:
    pl.it / rassegna italiana di argomenti polacchi
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Attrici d’avanguardia e teatro femminista a Roma negli anni Settanta: nuovi luoghi e linguaggi
    Avant-garde Actresses and Feminist Theatre in Rome in the 1970s: New Stages and New Forms of Expression
    Autorzy:
    Giacobbe Borelli, Maia
    Powiązania:
    https://bibliotekanauki.pl/articles/446652.pdf
    Data publikacji:
    2019-11-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    avant-garde theatre
    feminism
    New Theatre
    Rome
    1974–1979
    avanguardia teatrale
    femminismo
    Nuovo Teatro
    Roma
    Opis:
    This essay is based on one of the ORMETE (Oralità Memoria Teatro: www.ormete.net) projects: Donne di teatro a Roma ai tempi della mobilitazione femminista (1965–1985). The research shows the inter-relations between the feminist movement and the actresses of the avant-garde scene in Rome. The focus of each of the women’s personal narrations is characterised by its strong and definite feminist or anti-conformist identity and by its determination to channel its own imagery in the experimental scene of the avant-garde. Many of the women gathered in feminist companies or joined collective groups; some ventured the road of dramaturgy, while still others dared more alternative, experimental kinds of solo performances. This text sheds light on a variety of alternative spaces for performances in Rome. It is there where these new forms of theatrical expressions were born.
    L’intervento, che attinge a una ricerca in corso nel quadro di ORMETE (Oralità Memoria Teatro: www.ormete.net) Donne di teatro a Roma ai tempi della mobilitazione femminista (1965– –1985), cerca di mettere a fuoco gli intrecci fra mobilitazioni femministe e protagonismo delle attrici a Roma, fra il 1974 e il 1979. L’affermazione di un’identità femminile forte e anticonformista caratterizza il racconto di tutte queste donne, determinate a trovare la strada per esprimere il proprio immaginario e la propria diversa presenza nel mondo romano della ricerca teatrale. Molte si sono associate in compagnie o collettivi, alcune hanno tentato la strada della drammaturgia, altre hanno scelto la forma della performance più trasgressiva. L’indagine mette l’accento sui molti luoghi di Roma dove i diversi linguaggi scenici hanno trovato la luce.
    Źródło:
    Italica Wratislaviensia; 2019, 10.2; 257-273
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Pirandello a Breslavia
    Pirandello in Wrocław
    Autorzy:
    La Rosa, Gabriele
    Powiązania:
    https://bibliotekanauki.pl/articles/446427.pdf
    Data publikacji:
    2014-12-31
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    Luigi Pirandello
    drama
    metatheatre
    critical reception
    theatre reviews
    Opis:
    The aim of the article is to outline the presence of Luigi Pirandello in Wrocław. After a brief overview of his critical reception in Poland after the First World War, the essay focuses on the three performances that took place in Wrocław after the Second World War. For each performance, the theatre program and the critical reviews are analyzed. The article attempts to show how Pirandello, after his rare appearance, disappeared from the theatre scene in Wrocław.
    Źródło:
    Italica Wratislaviensia; 2014, 5; 235-254
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ripensare a "Cani di bancata" di Emma Dante. I travestimenti androgini di Mammasantissima
    Thinking Back to "Cani di bancata" by Emma Dante. Mammasantissima’s Androgynous Costumes
    Autorzy:
    Barsotti, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/446452.pdf
    Data publikacji:
    2019-11-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    Emma Dante
    theatre
    Cani di bancata
    Sicily
    world
    teatro
    Sicilia
    mondo
    Opis:
    The essay reflects on Emma Dante, the unusual and versatile artist (theatre manager, actress-author, film and opera director). Emma Dante’s story condenses different and apparently conflicting experiences and knowledge (the Academy of Dramatic Arts in Rome, the teachings of Vacis in Turin, the laboratories with Cesare Ronconi) before the foundation of the Sud Costa Occidentale group in Palermo, in 1999, with its subsequent transformations continuing until today. The result is an irregular figure of a “matriarch”, in the fruitful vein of new Sicilian dramaturgy, which takes nourishment from the land of origin but with which she feeds a collective and authorial theatre. This theatre is both dramatic (indeed tragi-comic) and post-dramatic, with European depth, and it is not spared of controversy and criticism, as it is awkward and uncomfortable. The analysis of her performance in Cani di bancata (2006) aims to highlight themes and styles connected to a feminism that goes beyond gender in the strict sense but that is able to become a metaphor of a world and a human diversity that involves and disturbs us through an irreverent gaze.
    Il saggio riflette su Emma Dante, artista polivalente (capocomica e attrice-autrice di teatro, attrice e regista di cinema, regista di opere liriche), che costituisce un’eccezione nel panorama italiano in quanto donna di scena e donna di libro. La sua storia condensa esperienze e competenze diverse, apparentemente contrastanti (Accademia d’Arte drammatica a Roma, magistero di Vacis a Torino, laboratori con Cesare Ronconi) prima della fondazione del gruppo Sud Costa Occidentale a Palermo, nel 1999, con le sue successive trasformazioni fino ad oggi. Ne nasce un’anomala figura di “matriarca”, nel filone fecondo della nuova drammaturgia siciliana, che dalla terra d’origine trae succhi ma con i quali alimenta un teatro al tempo stesso collettivo e autoriale; drammatico (anzi tragi- comico) e postdrammatico, di rispondenza europea, non senza suscitare polemiche e attacchi, essendo teatro scomodo e foriero di rischiose autoanalisi. L’esame del suo spettacolo Cani di bancata (2006) intende mettere in luce temi e stili connessi a un femminile che esula dal gender (in senso stretto) ma capace di farne la metafora di un mondo e di una diversità umana che, attraverso uno sguardo complice e dissacrante, ci coinvolge e ci turba.
    Źródło:
    Italica Wratislaviensia; 2019, 10.2; 289-305
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Sulle tracce di Jerzy Grotowski: la tappa di Breslavia
    Wandering towards Jerzy Grotowski: Wrocław
    Autorzy:
    Woźniak, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/446530.pdf
    Data publikacji:
    2014-12-31
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    Jerzy Grotowski
    The Laboratory Theatre
    paratheatre
    Italy
    Grotowski in the sixties
    Opis:
    At the beginning of 1965 Jerzy Grotowski and The Theatre of 13 Rows were forced to transfer their headquarters from Wrocław to Opole. One of the most difficult periods in the history of the company coincided with the resounding success of The Constant Prince, based on Julius Slowacki’s translation of Calderon’s play. In under two years this production brought him fame and a reputation as one of the most important artists of the contemporary theatre. Until the introduction of martial law in Poland in December 1981 and the exile of Grotowski first to the United States, then to Italy, Wrocław became a witness to the most important artistic works of Grotowski and the profound changes in his artistic practice: from the theatre, through the paratheatre, to his activities in the Theatre of Sources.
    Źródło:
    Italica Wratislaviensia; 2014, 5; 221-234
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Il professionismo delle attrici: stato degli studi e nuove domande
    Being a Professional Actress. An Overview of the Existing Body of Research and New Inquires to Be Made
    Autorzy:
    Megale, Teresa
    Powiązania:
    https://bibliotekanauki.pl/articles/446356.pdf
    Data publikacji:
    2019-11-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    female professionalism
    female leaders of theatre companies
    women’s dramaturgy
    commedia dell’arte
    theatre historiography
    professionismo femminile
    capocomicato femminile
    drammaturgia delle donne
    Commedia dell’Arte
    storiografia teatrale
    Opis:
    In the second half of the 16 th century, the arrival of women on the stage caused a revolution, the effects of which extended to the entirety of modern society. A troupe on the move and always at risk, faced with waves of condemnation, the women actors, nomads by trade, were preceded by a diffidence that was both twofold and simultaneous: towards the principal makings of professional work in the theatrical arts and towards the moral qualities of which they had been regarded as the heralds, not individually but as a social group. The process of deconstructing the artistic identity of these pioneering actresses, who tended to be equated with harlots or to their opposites, that is, virgin actresses, was not limited to the first appearance of women on the professional scene, but, rather, it became a long-standing historical category. The article is concerned with removing prior moral judgments that were stratified over the actresses and freeing the historiographic field from preconceived viewpoints; it is concerned with dismantling misogyny and anachronistic sidelong glances. Between masks and prejudices regarding the perturbing aesthetic perception represented by the entrance of women into the world of art, distinguishing that which separates the actress’s profession from sexual adventures, talent from reputation, art from seduction, is essential to provide new historiographic categories and new coordinates to the study of the commedia dell’arte. In this way, other past experiences come to light: the launch towards professionalism, the role of marriage, and the violence that women underwent are a few of the problematic issues to reconsider and overcome based on prior documentary studies.
    Nella seconda metà del Cinquecento, l’arrivo delle donne in scena provocò una rivoluzione i cui effetti si estesero all’intera società moderna. Sommerse da un’ondata di condanna, le attrici, nomadi per mestiere, furono precedute da una doppia e simultanea diffidenza: verso le potenzialità precipue dell’arte teatrale professionistica e verso le qualità morali di cui sono state ritenute portatrici non singolarmente, ma come gruppo sociale. Il processo di decostruzione dell’identità artistica delle attrici pioniere, assimilate alle meretrici o al loro rovescio, ossia all’attrice vergine, non si è limitato al primo apparire del professionismo femminile, bensì è diventato una categoria storica di lunga durata. Si tratta qui di rimuovere i preventivi giudizi moralistici stratificati sulle attrici e sgombrare il campo storiografico da posizioni preconcette, di smantellare misoginia e anacronistici sguardi obliqui. Fra maschere e pregiudizi circa la perturbante percezione estetica rappresentata dall’ingresso in arte della donna, distinguere ciò che separa il mestiere di attrice dalle vicende sessuali, il talento dalla reputazione, l’arte dalla seduzione è essenziale per dare nuove categorie storiografiche e nuove coordinate allo studio della Commedia dell’Arte. Vengono così alla luce altri vissuti e altre esperienze: l’avvio verso la professione, il ruolo del matrimonio, la violenza subita sono alcuni nodi problematici da riconsiderare e vagliare sulla scorta di preventive indagini documentarie.
    Źródło:
    Italica Wratislaviensia; 2019, 10.2; 15-36
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Contro la minaccia della cultura locale. Gli aspetti performativi dell’identità culturale in mPalermu e ne La Carnezzeria di Emma Dante
    Against the Menace of the Local Culture. Performative Aspects of Cultural Identity in mPalermu and Carnezzeria by Emma Dante
    Autorzy:
    Bal, Ewa
    Powiązania:
    https://bibliotekanauki.pl/articles/446662.pdf
    Data publikacji:
    2019-11-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    localness
    cultural identity
    dialect theatre
    Emma Dante
    performativity
    località
    identità culturale
    teatro dialettale
    performativo
    Opis:
    Taking into account important changes that have taken place in the last 20 years in the fields of performance studies and cultural studies (especially de- and post-colonial studies) regarding the way in which local cultures and ethnicity are represented in the theatre and interpreted in the humanities, this article revises the ways of presenting local cultures in the Italian dialect theatre of the last decade. This analysis shows how a hegemonic (at least until recently) dramatic model developed by Eduardo de Filippo and based on producing nostalgia towards an idealised past of a local culture needs to be critically reformulated, especially from the perspective of a young generation of female artists who work in the field of dialect theatre. To this end, in this article, the author analyses the performing strategies of two of Emma Dante’s plays, mPalermu and Carnezzeria, to prove that localness is not an essentially understood characteristic of a certain community, but, rather, it should be seen as a complex performative, repetitive practice that is both bodily and discursive. Conversely, the author points out that these practices should be examined in depth and seen as a kind of cultural oppression that serves as a camouflage of some deeper imprinted relationships based on violence and domination. The examples of Emma Dante’s plays from the beginning of her career allow the author to also cast a critical gaze at an issue of primordialism, raised by Arjun Appadurai and seen as a way of viewing the Other. The latter reflects a voyeuristic pleasure of the Western world, coming from the sense of dominance over allegedly underdeveloped and primitive cultures. Emma Dante’s theatre, according to the author of this article, is an example of de-colonial artistic practice, as it subversively uses the voyeuristic inclinations of the viewer to denounce the violent character of local Sicilian scripts of behaviour that, until now, had usually been left unsaid in public debate.
    Prendendo in considerazione i cambiamenti avvenuti negli ultimi 20 anni nel campo degli studi sulla performance e sulle rappresentazioni delle culture locali ed etniche e le metodologie elaborate nel campo degli studi de- e post -coloniali, Ewa Bal propone di rivedere le principali strategie di rappresentazione delle culture locali nel teatro dialettale italiano dell’ultimo decennio. Parte dunque dal presupposto che il modello drammaturgico elaborato da Eduardo de Filippo sia rimasto a lungo egemonico nel contesto teatrale italiano: specie nella maniera in cui produceva la nostalgia di un passato idealizzato della cultura dialettale. Questo modello, secondo l’autrice, va invece rivisto mettendo al suo confronto le artiste più recenti del teatro dialettale, che concettualizzano la cultura locale in maniera differente e propongono nuove strategie drammaturgiche. Bal analizza quindi le strategie performative di due opere di Emma Dante mPalermu e Carnezzeria per dimostrare che la cosiddetta identità culturale locale non è affatto una caratteristica essenziale (o “naturale”) di una certa comunità, ma piuttosto un insieme di pratiche discorsivo-corporali ripetibili che a forza di ripetersi diventano “naturali”. Vanno quindi viste piuttosto come una specie di minaccia o stigma culturale, che serve da camuffaggio alle più profonde relazioni di dominazione e violenza tra uomini e donne. Analizzando due esempi di spettacoli di Emma Dante risalenti agli inizi della sua carriera artistica, Bal guarda criticamente alla nozione del “primordialismo” sollevata da Arjun Appadurai e interpretata da lui come uno dei modi di rappresentare l’Altro che soddisfa lo sguardo patriarcale del mondo Occidentale nei confronti delle culture apparentemente meno avanzate o primordiali. Gli spettacoli di Emma Dante sovvertono questo sguardo voyeuristico, usandolo criticamente per denunciare la violenza nascosta sotto gli scenari comportamentali, gestionali e discorsivi della cultura locale siciliana e riportarla alla luce del dibattito pubblico.
    Źródło:
    Italica Wratislaviensia; 2019, 10.2; 275-288
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    La casa delle donne. Sulla storia della traduzione italiana di Dom kobiet di Zofia Nałkowska
    La casa delle donne. The history of the Italian translation of Dom kobiet by Zofia Nałkowska
    Autorzy:
    Kłos, Anita
    Powiązania:
    https://bibliotekanauki.pl/articles/28409077.pdf
    Data publikacji:
    2015
    Wydawca:
    Associazione Italiana Polonisti (AIP)
    Tematy:
    Zofia Nałkowska
    Sibilla Aleramo
    history of translation
    theatre translation
    Reception of Polish literature in Italy
    Opis:
    In 1930 Sibilla Aleramo translated the play Dom kobiet by Polish writer Zofia Nałkowska into Italian. This three-act drama, probably the first play with only female characters in the history of theatre, was set in Warsaw the same year and was suddenly a huge success in Poland. Aleramo’s translation has remained unpublished and has been preserved (as a manuscript and a typescript draft) in the author’s archive belonging to the Fondazione Istituto Gramsci in Rome. The paper focuses on the history of this text, based mainly on the analysis of Nałkowska’s diary and unpublished letters and documents from Aleramo’s archive.
    Źródło:
    pl.it / rassegna italiana di argomenti polacchi; 2015, 6; 107-123
    2384-9266
    Pojawia się w:
    pl.it / rassegna italiana di argomenti polacchi
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Il teatro delle e per le monache (Napoli, secolo XVIII)
    The Theatre of and for the Nuns (Naples, 18 th century)
    Autorzy:
    Novi Chavarria, Elisa
    Powiązania:
    https://bibliotekanauki.pl/articles/446324.pdf
    Data publikacji:
    2019-11-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    theatre
    music
    female monasteries
    Naples
    18 th century
    secolo XVIII
    teatro
    musica
    monasteri femminili
    Napoli
    Opis:
    Recent studies have focused on the musical environment and the theatre in female monasteries of many Italian cities between the 16 th and 18 th centuries. These art forms became famous as forms of entertainment in travel literature and in the chronicles of the time but were forbidden in the age of the Counter-Reformation. However, the theatrical performances, both in prose and in music, enjoyed enormous success and spread in male and female monasteries. As of the 17 th century, if not even earlier, travellers from half of Europe arrived in Naples, attracted by the excellence of the musical and theatrical performances that they could enjoy in the monasteries of the city. This essay aims to reconstruct the times, the modalities, and the contents of the theatrical offerings in the female monasteries of Naples at the beginning of the 18 th century, all of which are still unknown today. In particular, the case of the Franciscan monastery of St Chiara will be examined. Through the patronage of Queen Maria Amalia, musical and theatrical performances played an active leading role in the configuration of a specific theatrical type and taste and increased the education of the nuns and young women who were educated in the monastery, representing and legitimising new feelings and sensibilities. The religious women found a way to talk of their feelings and concerns together; they forged relationships even with the environments outside of the monastery and especially with the Queen’s court and with the courts of the aristocratic palaces of their families of origin.
    Studi recenti hanno fatto luce sull’ambiente musicale e sul teatro monastico femminile di molte città italiane tra Cinque e Settecento, conferendo spessore documentario alla fama di cui tali forme di spettacolo godevano nella letteratura da viaggio e nella memorialistica cittadine dell’epoca. Si trattava di pratiche culturali vietate dalla normativa post-tridentina, eppure spettacoli teatrali, sia in prosa che in musica, ebbero una enorme fortuna e diffusione nei monasteri maschili e femminili. Napoli, in particolare, sin dal secolo XVII, se non da addirittura prima, richiamò viaggiatori provenienti da mezza Europa anche in virtù della eccellenza delle esecuzioni musicali e teatrali di cui era possibile fruire nei monasteri della città. Il saggio prova a far luce su tempi, modalità e contenuti dell’offerta teatrale dei monasteri femminili napoletani agli inizi del secolo XVIII, in particolare del monastero delle francescane di S. Chiara che, grazie al patronage della regina Maria Amalia, pare abbia avuto un ruolo attivo e trainante nella configurazione di uno specifico genere e gusto teatrali volto a incrementare l’istruzione delle religiose e delle giovani che venivano educate nel monastero, ma anche a rappresentare e legittimare sentimenti e nuove sensibilità. Le religiose vi trovarono un modo per raccontarsi, fare affiorare e comunicare i propri sentimenti e inquietudini, attivare forme di sociabilità e di relazioni sociali dentro e fuori il monastero, tra i monasteri e le corti, quella della Regina e le corti dei palazzi aristocratici delle loro famiglie di origine.
    Źródło:
    Italica Wratislaviensia; 2019, 10.2; 119-133
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Alla ricerca di un capolavoro. Il teatro e la traduzione nelle lettere inedite di Sibilla Aleramo a Emilia Szenwicowa
    In Search of a Masterpiece. Theatre and Translation in the Unpublished Letters of Sibilla Aleramo to Emilia Szenwicowa
    Autorzy:
    Kłos, Anita
    Powiązania:
    https://bibliotekanauki.pl/articles/446683.pdf
    Data publikacji:
    2019-11-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    Sibilla Aleramo
    Zofia Nałkowska
    Emilia Szenwicowa
    theatre translation
    women’s writing
    raduzione teatrale
    scritture femminili
    Opis:
    Sibilla Aleramo (1876–1960) and Emilia Szenwicowa (1889–1972), Polish journalist and translator, met in 1927: the Italian writer hoped that Szenwicowa would translate her novel Amo dunque sono into Polish. A year later, Aleramo spent a few weeks on vacation in Positano, in the villa of the Szenwic family, where she often returned until the outbreak of World War II. In 1931, thanks to Szenwicowa’s mediation, Aleramo undertook the translation of Dom kobiet, a theatrical piece by Zofia Nałkowska, into French and literal Italian, using mediatory versions. A collection of Aleramo’s letters has recently been found in the family archive of the Polish journalist’s heirs. The letters, published for the first time in the present paper in fragments, testify to the profound friendship that united the two intellectuals, and document, amongst other things, their various collaborative projects concerning the translation of theatre plays from Polish to Italian. The aim of the paper is to analyse the moments of correspondence between Aleramo and Szenwicowa that refer to the theatre.
    Sibilla Aleramo (1876–1960) ed Emilia Szenwicowa (1889–1972), giornalista e traduttrice polacca, si conobbero nel 1927: la scrittrice italiana sperava che Szenwicowa avrebbe tradotto in italiano il suo romanzo Amo dunque sono. Un anno dopo, Aleramo trascorse qualche settimana di vacanza a Positano, nella villa della famiglia Szenwic, dove ritornò spesso fino allo scoppio della seconda guerra mondiale. Nel 1931, grazie alla mediazione di Emilia, Aleramo intraprese la traduzione di Dom kobiet, una pièce teatrale di Zofia Nałkowska, basandosi su traduzioni mediatorie in italiano e francese. Nell’archivio familiare degli eredi della giornalista polacca è stata recentemente ritrovata una collezione di missive aleramiane. Le lettere, per la prima volta pubblicate in frammenti nel presente saggio, testimoniano la profonda amicizia che univa le due intellettuali e documentano, tra l’altro, diversi progetti di collaborazione inerenti la traduzione di testi teatrali dal polacco in italiano. I momenti della corrispondenza tra Aleramo e Szenwicowa che si riferiscono al teatro vengono sottoposti nel presente intervento ad un’analisi approfondita
    Źródło:
    Italica Wratislaviensia; 2019, 10.2; 239-256
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dopo l’Ottocento delle attrici, qualche punto fermo sulle attrici italiane del Novecento
    After the 1800’s, “Century of Actresses”, a Few Core Points on Italian Actresses in the 1900’s
    Autorzy:
    Mariani, Laura
    Powiązania:
    https://bibliotekanauki.pl/articles/446418.pdf
    Data publikacji:
    2019-11-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    19 th century
    20 th century
    theatre
    actress
    history of women
    Ottocento
    Novecento
    teatro
    attrice
    storia delle donne
    Opis:
    Critical studies on the theatre from the 19 th and 20 th centuries, even founding ones, are limited as they do not include a gender category – a paradox in a space where bodies are central. The actresses, in fact, give life to different stories, which allow for the enrichment of historical-critical reconstructions. Given the vastness of the topic, this article aims to identify some fundamental turning points. We begin with the legacy of the 19 th century, rich from both a linguistic and a historical-critical viewpoint; the article moves on to the post-Duse period, which saw, on the one hand, the birth of the actor-artist’s Italian specificity and, on the other, the crisis of female leaders of theatre companies; then, the article discusses the birth of Italian theatre direction in the period following the Second World War and the reaction of a few actresses, like Anna Magnani, who aimed to re-create the reality that was to be reclaimed by the history of theatre. Finally, the article explores the breakdown caused by the New Theatre and even calls into discussion the word for “actress”, with overlaps in the fields of theatre direction and dramaturgy.
    Gli studi critici sul teatro dell’ 800 e del 900, anche quelli fondativi, hanno il limite di non usare la categoria di gender: un paradosso in un ambito in cui il corpo è centrale. Le attrici infatti danno vita a storie diverse, che permettono di arricchire le ricostruzioni storico-critiche. Data l’ampiezza del tema, il saggio punta sull’individuazione di alcuni snodi fondamentali: il lascito ottocentesco, ricco sia dal punto di vista del linguaggio che da quello socio-culturale; il dopo-Duse, che registra da un lato la nascita della specificità italiana dell’attore-artista e, dall’altro, la crisi del capocomicato femminile; la nascita della regia italiana nel secondo dopoguerra e la reazione di alcune attrici che puntano sulla ri-creazione della realtà, come Anna Magnani, che va riconquistata alla storia del teatro; la rottura operata dal Nuovo teatro e la messa in discussione sin della parola attrice, con sconfinamenti nei campi della regia e della drammaturgia.
    Źródło:
    Italica Wratislaviensia; 2019, 10.2; 195-222
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Caterina Bresciani, l’Ircana famosa
    Caterina Bresciani, "Famous Ircana"
    Autorzy:
    Dygul, Jolanta
    Powiązania:
    https://bibliotekanauki.pl/articles/446339.pdf
    Data publikacji:
    2019-11-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    commedia dell’arte
    Venetian theatre
    actress
    role typology
    Persian trilogy
    Commedia dell’Arte
    teatro veneziano
    attrice
    tipologia del ruolo
    trilogia persiana
    Opis:
    While writing for the Venetian stage, Carlo Goldoni adhered to the requirements of the commedia dell’arte theatre, and thanks to his successful cooperation with actors, he gradually introduced changes to the ossified convention. The comedian-playwright wrote many of his texts for particular performers, using their personal qualities, stage experience, interpersonal relations within the team, and even biographies. Caterina Bresciani is an actress with whom Goldoni worked for as many as 10 theatre seasons, from 1753 to 1762, yet Goldoni does not mention much about her in his memoirs. To her, he owes his greatest stage success in Venice, La sposa persiana (1753), and two subsequent episodes of the story of the wild slave of Ircana. The aim of this article is to analyse the new typology of a female role, created for her first female performer, as well as to examine the performative traces hidden in the texts that will allow us to recreate the Bresciani style of acting.
    Carlo Goldoni si adattò alle esigenze del teatro dell’arte e grazie alla collaborazione con valenti comici, muniti di eccellenti doti interpretative, introdusse dei cambiamenti nella tradizionale convenzione. L’autore scrisse molte commedie per degli attori concreti sfruttando la loro indole, l’esperienza professionale, le relazioni interpersonali all’interno della compagnia e perfino la loro biografia. Caterina Bresciani, attrice fiorentina che per 10 stagioni, dal 1753 al 1762, collaborò con Carlo Goldoni, nelle sue memorie compare poco. A lei l’autore dovette il suo più grande successo scenico, ossia La sposa persiana (1753) e altri due episodi della fortunata storia. L’obiettivo dell’intervento è indagare la nuova tipologia del personaggio – concepito su misura per la Bresciani – presente nella famosa trilogia dell’Ircana (La sposa persiana, Ircana in Julfa, Ircana in Ispaan) e cercare le tracce performative della prima interprete del ruolo sparse nel testo.
    Źródło:
    Italica Wratislaviensia; 2019, 10.2; 135-146
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    SocGoldoni. “Il servitore di due padroni” nell’interpretazione di Krystyna Skuszanka
    SocGoldoni. 'The Servant of Two Masters' as interpreted by Krystyna Skuszanka
    Autorzy:
    Kwaśniewska-Urban, Paulina
    Powiązania:
    https://bibliotekanauki.pl/articles/938225.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
    Tematy:
    Krystyna Skuszanka
    Carlo Goldoni
    'Sługa dwóch panów'
    Teatr Ludowy w Nowej Hucie
    komedia
    'The Servant of Two Masters'
    Ludowy Theatre in Nowa Huta
    comedy
    Opis:
    The following paper is devoted to the performance of Carlo Goldoni’s comedy The Servant of Two Masters, which was staged in Teatr Ludowy (the Ludowy Theatre) in Nowa Huta. The play, which was directed by Krystyna Skuszanka, is set in the history of the Polish reception of Goldoni’s comedy. The analysis of remarks and comments, which were published by Polish reviewers who watched the play in Nowa Huta in 1957, as well as Italian reviewers who saw the performance a few months later in the Venetian Biennale, is an attempt at showing some basic discrepancies regarding the reception of the play and answering the question about the cause of such differences. In such a short form it is not possible to investigate all the intricacies of reading Goldoni in Poland in the period 50s–60s from an anti-ideological perspective, or to determine a broader historical-cultural context. The paper is only a section of in-depth research conducted by the author.
    Niniejszy artykuł traktuje o realizacji scenicznej komedii Carla Goldoniego Sługa dwóch panów wystawionej w Teatrze Ludowym w Nowej Hucie. Spektakl wyreżyserowany przez Krystynę Skuszankę zostaje osadzony w historii polskiej recepcji komedii wenecjanina. Przedstawiona w artykule analiza uwag i komentarzy publikowanych przez polskich recenzentów, którzy Sługę widzieli w Nowej Hucie w marcu 1957 roku, oraz włoskich recenzentów, którzy oglądali spektakl kilka miesięcy później na weneckim Biennale, jest próbą ukazania zasadniczych różnic w odbiorze przedstawienia oraz odpowiedzi na pytanie o ich przyczynę. W tak krótkiej formie nie sposób przyjrzeć się wszystkim zawiłościom odczytywania Goldoniego w Polsce w latach pięćdziesiątych i sześćdziesiątych XX wieku przez pryzmat (anty)ideologiczny ani nakreślić szerszy kontekst historyczno-kulturowy, tekst jest wycinkiem pogłębionych badań prowadzonych przez autorkę.
    Źródło:
    Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria; 2019, 19; 194-208
    2081-1853
    Pojawia się w:
    Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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