The active participation of women in performances and festive life, as entertainers, spectators and performers, has always been a sensitive cultural and social indicator, involving above all the ...aristocratic elites, and traditionally arousing mistrust and censure. During the Renaissance, before the professional actresses of the Commedia dell'Arte imposed themselves in Italian and European public theatres, there were communities that welcomed the female presence on stage and within the party in various forms, but the phenomenon has not yet been explored in depth in historiography. The essay examines, from this point of view, the examples of Siena, where academies organised an intense theatrical life, deeply intertwined with the convulsive political events of the Republic, and Ferrara, where the princesses and their court ladies carved out a specific space for themselves in the spectacular entertainments, which were strictly directed by the prince.
La partecipazione attiva delle donne agli spettacoli e alla vita festiva, in qualità di animatrici mondane, spettatrici e recitanti, è da sempre un indicatore sensibile di natura sociale e culturale, ...che coinvolge soprattutto le élites aristocratiche, e che suscita tradizionalmente diffidenze e censure. Durante il Rinascimento, prima che le attrici di mestiere della Commedia dell’Arte si impongano nei teatri pubblici italiani ed europei, ci sono comunità che accolgono in varie forme la presenza femminile sulla scena e all’interno della festa, ma il fenomeno non è stato ancora approfondito nella storiografia. Il saggio esamina, da questo punto di vista, gli esempi di Siena, dove le accademie organizzano un’intensa vita teatrale profondamente intrecciata con le convulse vicende politiche della Repubblica, e di Ferrara, dove le principesse e le loro dame di corte si ritagliano uno spazio specifico nei trattenimenti spettacolari rigidamente diretti dal principe.
According to Silvio D’Amico and the Fascist regime, staging La Figlia di Iorio at the 1934 Volta Conference would show the world a perfect example of the rising Italian direction, especially ...considering that high-level international figures joined to rewrite this masterpiece in Mediterranean rustic literature, thirty years after Michetti’s and Talli’s realistic and pictorial legendary première. However, putting together avant-garde and tradition was a gamble that did not work out. Pirandello, De Chirico, Ruggeri and Marta Abba (who had been recommended) reluctantly participated in the endeavour and did not manage to meet expectations. This was the umpteenth missed opportunity in the history of Italian theatre, and d’Annunzio polemically distanced himself from it .
Da circa due secoli la Divina Commedia è fatta oggetto, in Italia, di letture teatralizzate e di vere e proprie riduzioni drammaturgiche, che hanno raggiunto vaste masse di spettatori, e la cui ...popolarità non accenna ancora oggi ad esaurirsi. Il fenomeno delle “dantate” - che non conosce equivalenti in altre culture europee - accompagna l’avventura risorgimentale per la conquista dell’indipendenza, ed è legato alla tradizione italiana del grande mattatore romantico: a partire da Gustavo Modena (l’ attore mazziniano che intende portare Dante al popolo come veicolo di emancipazione politica), i grandi guitti italiani romantici, naturalistici e poi novecenteschi (di avanguardia o di ‘tradizione’) hanno continuato a recitare il poema, costruendo, per via performativa, una peculiare ecdotica, ancora tutta da studiare. Le celebrazioni dantesche del centenario del 1865, in una Firenze appena consacrata capitale del Regno d’Italia, segnano un acme di questa fortuna festiva e teatrale. For the last two centuries in Italy, the Divine Comedy has been made subject of dramatized readings and proper dramatic reductions that have reached the bulk of the audience, and whose popularity doesn’t yet show any sign of exhaustion. The phenomenon of the "dantate" – with no equivalent in other European cultures - accompanies the risorgimentale adventure for the sake of gaining independence. This is linked to the Italian tradition of the great romantic ‘mattatore’: from Gustavo Modena onwards (the Mazzinian actor who attempts to bring Dante to the populace as a vehicle for political emancipation), the great Italian romantic wanderers, first naturalistic and then early twentieth-century (of avant-garde or 'tradition') continued to recite the poem, building, through their performances, a peculiar textual criticism, yet to be studied. The celebrations of Dante’s centenary in 1865, in a Florence that had just been the consecrated capital of the Kingdom of Italy, mark a climax of this festive and theatrical success.
Fra vita e scena Marzia Pieri
Il castello di Elsinore,
06/2013
68
Journal Article
Recenzirano
Odprti dostop
In 16th century in Siena prospers a unique model of comedy adventure, consumed and produced during academic holidays, full of references to the city life, that is often the result of different hands ...creation. This kind of comedy is characterize by the "pluringuismo", which means the centrality of female heroines, dressed like males, and protagonists of romantic adventures in a vibrant mix of comic and pathetic. The academy Intronati fixes the dramaturgical rules designed to have an extraordinary european fortune. This was possible thanks to the mediation of a specialized press, of the comedians of Art and of the Bargagli brothers, who build the memorial myth of this show culture after the fall of the republic.
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