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Italian drama --- Italian drama. --- 1900-1999 --- Italian literature
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Italian drama --- Italian drama. --- 1900-1999 --- Italian literature
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Honorable Mention, Aldo and Jeanne Scaglione Publication Award for a Manuscript in Italian Literary Studies This book examines the theater of narration, an Italian performance genre and aesthetic that revisits historical events of national importance from local perspectives, drawing on the rich relationship between personal experiences and historical accounts. Incorporating original research from the private archives of leading narrators—artists who write and perform their work—Juliet Guzzetta argues that the practice teaches audiences how ordinary people aren’t simply witnesses to history but participants in its creation. The theater of narration emerged in Italy during the labor and student protests, domestic terrorism, and social progress of the 1970s. Developing Dario Fo and Franca Rame’s style of political theater, influenced by Jerzy Grotowski and Bertolt Brecht, and following in the freewheeling actor‑author traditions of the commedia dell’arte, narrators created a new form of popular theater that grew in prominence in the 1990s and continues to gain recognition. Guzzetta traces the history of the theater of narration, contextualizing its origins—both political and intellectual—and centers the contributions of Teatro Settimo, a performance group overlooked in previous studies. She also examines the genre’s experiments in television and media. The first full-length book in English on the subject, The Theater of Narration leverages close readings and a wealth of primary sources to examine the techniques used by narrators to remake history—a process that reveals the ways in which history itself is a theater of narration.
Italian drama --- History and criticism. --- Performing arts
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As in a journey back in time, the stages of the first tournées of Italian actors in Russia in the 18th Century are retraced. By studying the translations of comedies and musical interludes, staged in St. Petersburg from 1731 to 1738, the practices of the first Italians who trod the stages of Tsarina Anna Ioannovna are rediscovered. Through the translation of the repertoire that has come down to us, the author reconstructs the traces of the Commedia dell'Arte and of the life and works of a handful of interpreters ready to face dangerous journeys in order to obtain gains and honors. The research, conducted on printed documents and primary archival sources, also based on the previous studies of Starikova and Ferrazzi, devotes particular attention to the biographies of the interpreters.
Theater. --- Courts and courtiers. --- Italian drama (Comedy)
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Comment l'Histoire s'écrit-elle derrière les rideaux de scène ? Quels processus créatifs les auteurs mettent-ils en œuvre pour lui donner voix et corps dans le présent singulier, réel et fictif à la fois, de la représentation théâtrale ? De tout temps, les « poètes » dramatiques ont cherché à problématiser l'histoire sur les scènes, mais rarement avec autant d'intensité qu'au XIXe siècle, alors que dans l'Europe entière se pose la question des nationalités. L'Italie en construction n'échappe pas à ce questionnement. Dès la fin du XVIIIe siècle, la scène théâtrale italienne devient le lieu privilégié où s'invente l'idée de la patrie unie, et où se fabrique une histoire du Risorgimento. S'y affirme d'abord la volonté de trouver dans les grands événements de l'histoire passée de la péninsule les fondements d'une idée commune de la « nation ». S'y construit également, au fil des luttes armées et des interventions politiques menant à l'unité, à travers l'émergence de formes spectaculaires non académiques et la mise en question des grands « mythes » risorgimentali, une historiographie particulière où se mêlent célébration, témoignage, mémoire et interprétation. La commémoration du bicentenaire de l'Unité en 2011 a été l'occasion de revenir sur ce pan méconnu de l'histoire du théâtre italien que certains appellent scena risorgimentale. À la lumière des débats historiographiques suscités par cette commémoration, les contributions réunies dans ce volume envisagent les diverses modalités d'écriture dramatique et scénique qui ont accompagné la formation de l'unité italienne tout au long des XIXe et XXe siècles, et celles qui, aujourd'hui encore, quand les identités nationales sont partout questionnées, continuent d'explorer la mémoire de l'un des moments les plus complexes de l'histoire de la péninsule.
Theater --- Italian drama --- History --- History and criticism --- Italy --- théâtre --- histoire et théâtre --- théâtre italien --- Risorgimento
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The present study is divided into three parts, the first of which is an in-depth introduction by Carlo Fanelli to the authors and problems of 16th century Renaissance Italian dialect comedy and the relevance of a playwright such as Angelo Beolco (RUZANTE). Particular attention is paid to the comedy from the point of view of the social problems presented by veterans or deserters after long and socially disastrous wars. The second part is a short introduction to the manuscript history of RUZANTE's dialect comedy El Parlamento prior its printing by Stefano Alessi at Venice in 1551. The Verona Cod
Dialect drama, Italian -- History and criticism. --- Italian drama -- To 1700 -- History and criticism. --- Italian drama (Comedy) -- History and criticism. --- Ruzzante, -- 1502?-1542 -- Translations into english. --- Italian drama (Comedy) --- Italian drama --- Dialect drama, Italian --- Romance Literatures --- Languages & Literatures --- Italian Literature --- Italian dialect drama --- History and criticism --- Ruzzante, --- Beolco, Angelo, --- Biolco, Angelo, --- Ruzante, --- Beolco, A. --- Biolco, Anzolo,
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Mentre il toscano e la lingua letteraria italiana basata sul toscano trecentesco prevedono il sistema tripartito dei deittici spaziali, l'italiano contemporaneo presenta il sistema bipartito. Nel volume si indagano le sorti dei deittici pronominali e avverbiali, e dei verbi deittici andare/venire nella lingua del Cinquecento. Il secolo sedicesimo è cruciale per la codificazione normativa dell'italiano, e per l'affermarsi del sistema della deissi spaziale. In quel periodo, infatti, appaiono sul mercato editoriale le prime grammatiche della lingua italiana. Ne consegue che le norme relative alla
Italian drama --- Theater in art --- Art and theater --- History and criticism. --- History.
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Italian cinemas after the war were filled by audiences who had come to watch domestically-produced films of passion and pathos. These highly emotional and consciously theatrical melodramas posed moral questions with stylish flair, redefining popular ways of feeling about romance, family, gender, class, Catholicism, Italy, and feeling itself. The Operatic and the Everyday in Postwar Italian Film Melodrama argues for the centrality of melodrama to Italian culture. It uncovers a wealth of films rarely discussed before including family melodramas, the crime stories of neorealismo popolare and opera films, and provides interpretive frameworks that position them in wider debates on aesthetics and society. The book also considers the well-established topics of realism and arthouse auteurism, and re-thinks film history by investigating the presence of melodrama in neorealism and post-war modernism. It places film within its broader cultural context to trace the connections of canonical melodramatists like Visconti and Matarazzo to traditions of opera, the musical theatre of the sceneggiata, visual arts, and magazines. In so doing it seeks to capture the artistry and emotional experiences found within a truly popular form. Key Features * Connects less established areas of research such as popular neorealism to more well-known subjects such as domestic melodrama * Provides an analysis of cineopera or opera film * Helps to pioneer the area of popular Italian cinema * Contributes to both Italian Studies and Film Studies
Motion pictures --- Melodrama in motion pictures. --- Melodrama, Italian. --- Italian melodrama --- Italian drama --- History.
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Argues that playwrights looked to fencing theory and performance for physical cues and formal structure.
Drama --- English drama --- Italian drama --- German drama --- Stage fencing. --- History and criticism.
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Ugo Foscolo's Tragic Vision in Italy and England examines an underexplored aspect of Foscolo's literary career: his tragic plays and critical essays on that genre.
Italian drama (Tragedy) --- Italian drama --- Foscolo, Ugo, --- Didimo, Chierico, --- Phōskolos, Ougos, --- Foscolo, Niccolò, --- Phōskolos, Nikolas Ougos, --- Criticism and interpretation. --- History and criticism. --- England. --- Angleterre --- Anglii͡ --- Anglija --- Engeland --- Inghilterra --- Inglaterra
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