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Questo articolo analizza e si propone di evidenziare i gesti e le strategie corporee dell'attore ... more Questo articolo analizza e si propone di evidenziare i gesti e le strategie corporee dell'attore tragico così come gli scoli li descrivono al lettore. Se ne evince che gli attori tragici utilizzavano strategie e schemi che non solo avevano valenze semantiche ma mettevano in gioco anche abilità specifiche per provocare le emozioni degli spettatori. L'articolo si propone di sostenere che gli studiosi ellenistici osservavano le strategie corporee degli artisti senza pregiudizi riguardo al dominio degli attori nel raggiungimento degli effetti tragici. Certamente bisogna tenere conto che queste fonti trattano di rappresentazioni risalenti al V secolo: la memoria dell'erudizione antica rientra nel modo in cui viene considerato il fenomeno tragico. Questo articolo non parla della performance ma della registrazione della sua memoria.
Il Castello di Elsinore, 2022
Nel cantiere di Koltès. Mestiere della scrittura e condizione esistenziale in Combat de nègre et ... more Nel cantiere di Koltès. Mestiere della scrittura e condizione esistenziale in Combat de nègre et de chiens Manlio Marinelli «Finalmente, dopo cinque mesi di vita nei quali non potei scrivere niente di cui fossi contento e che nessun potere mi rifonderà, [...] mi viene l'idea di rivolgere un'altra volta la parola a me stesso» 1 abstract Towards the Koltès workshop After his previous work dedicated to Night just before the Forests, the author returns to exploring the relations between Koltès biographical elements and theatrical writing and how they intertwine in French dramatist's plays. The author employs the French playwright epistolary and interviews to identify characters biographical sources and places references in the pièce Black Battles with Dogs: through a metaphorical and allegorical process, the idea of metamorphosis becomes dramaturgical driving force and signature style characterizing Koltès wok.
The paper aims at exploring the Laws which rule the Body both in the work of actors and performer... more The paper aims at exploring the Laws which rule the Body both in the work of actors and performers in the Theatre of ancient Greece. Two sources are being examined dealing with this topic: the De Saltatione by Lucian of Samosata, and the Pro Saltatoribus by Libanius. This article analyzes the first source trying to highlight Body Strategies, such as gestures, training, semantic values. Lucianus underlines the close relationship between Body (soma) and Mind (psyché), relying on his idea of Thinking in Motion. As a conse- quence he rejects the supremacy of literacy and mind over performance and body
Libanius Pro Saltatoribus can be seen as a remarkable source dealing with the Body Laws which rul... more Libanius Pro Saltatoribus can be seen as a remarkable source dealing with the Body Laws which ruled ancient Performers. This article analyzes and aims at highlighting the Performer’s gestures, training and Body strategies in the way Libanius describes them to the reader. According to him, both actors’ mind and soul are not perverted by the rules of their physical performances. Henceforth, the Platonic and Aristotelian theory, which dated back to V and VI centuries, is rejected; at the same time the one growing up in the theatre milieu is strongly asserted. This treatise is an exhaustive source which goes deeply into the study of ancient theatre, of Performer acting and of playing
Dioniso. Rivista di studi sul teatro antico, 2016
Libanius Pro Saltatoribus can be seen as a remarkable source dealing with the Body Laws which rul... more Libanius Pro Saltatoribus can be seen as a remarkable source dealing with the Body Laws which ruled ancient Performers. This article analyzes and aims at highlighting the Performer's gestures, training and Body strategies in the way Libanius describes them to the reader. According to him, both actors' mind and soul are not perverted by the rules of their physical performances. Henceforth, the Platonic and Aristotelian theory, which dated back to V and VI centuries, is rejected; at the same time the one growing up in the theatre milieu is strongly asserted. This treatise is an exhaustive source which goes deeply into the study of ancient theatre, of Performer acting and of playing.
The paper aims at exploring the Laws which rule the Body both in the work of actors and performer... more The paper aims at exploring the Laws which rule the Body both in the work of actors and performers in the Theatre of ancient Greece. Two sources are being examined dealing with this topic: the De Saltatione by Lucian of Samosata, and the Pro Saltatoribus by Libanius. This article analyzes the first source trying to highlight Body Strategies, such as gestures, training, semantic values. Lucianus underlines the close relationship between Body (soma) and Mind (psyché), relying on his idea of Thinking in Motion. As a conse- quence he rejects the supremacy of literacy and mind over performance and body.
The tragical poets were used to composing both the verbal and the performing text. This article i... more The tragical poets were used to composing both the verbal and the performing text. This article is going to examine the sources which deal with this item. Going through Platon's Republic, Aristotle's Poetics, some of Aristophane's comedies and the ancient Scolia the author aims to reveal the tragical way of composing, in which the poets were involved both as writers and as metteur en scène.
In Bernard-Marie Koltès' artistical life there is a remarkable and sudden stylistic gap: the ... more In Bernard-Marie Koltès' artistical life there is a remarkable and sudden stylistic gap: the passage from his old way of writing and the new one is not progressive. In the late 70's his new pieces are absolutely different from his previous works. This article aims to show the origin of this new theatrical conception, emphasizing the significance of some biographical details. There is a traumatic moment in bmk's biography which accounts for the radical shift both in his life point of view and in his theatre. The night of Koltès is the night which upset his whole world, marking a real turning point in his life.
Culture Teatrali, 2020
The goal to be achieved in this article is to analyse the dramaturgical practice as both a craft ... more The goal to be achieved in this article is to analyse the dramaturgical practice as both a craft and a mind habit, which has been layering over numerous ages.
Thanks to Aristotle’s theories, the Author recognizes the origin of a tragic compositive idea, depending on the principle of “action composition”.
The Author analyses and goes through this idea, turning it into theatrical practice.
Looking back to ancient paradigms this article describes how this concept of theatrical “Verfassung” is sheer realistic practice inside the “Dramaturgie “. Moreover the Author identifies theories and modern versions (particularly Sartre and Müller) of it in the 20th century which, in spite of being still affected by Aristotle’s theories, actually show the realistic vividness inside the material culture of theatrical world.
MAIA, 2020
The paper aims at exploring the first twenty lines of Sophocles’ Ajax from a theatrical point of ... more The paper aims at exploring the first twenty lines of Sophocles’ Ajax from a theatrical point of view. The author analyses this sequence trying to highlight the performance strategies: Sophocles proposes a close relationship between scenic and dramaturgical levels. The actor playing the character of Athena is seated on the skené and observes from above the one playing Odysseus who evokes fear and caution by body strategies. The setting and the verbal text suggest such hierarchy between the characters and raise the emotional reaction of the audience.
Mimesis Journal, 2019
This article aims at examining the Greek point of view about the close, complex and disturbing re... more This article aims at examining the Greek point of view about the close, complex and disturbing relationship between role and gender in ancient Greek performance. The author proposes different sources, particularly several parts excerpted from Republic and Laws of Platon and the Fisiognomica of Pseudo-Aristotle. The analysis underlines a strong contradiction: in the practice of body and gesture, male and female elements are inextricably mixed but Greek authors wish they are separated with the aim of stating the superiority of male identity
Questo articolo analizza e si propone di evidenziare i gesti e le strategie corporee dell'attore ... more Questo articolo analizza e si propone di evidenziare i gesti e le strategie corporee dell'attore tragico così come gli scoli li descrivono al lettore. Se ne evince che gli attori tragici utilizzavano strategie e schemi che non solo avevano valenze semantiche ma mettevano in gioco anche abilità specifiche per provocare le emozioni degli spettatori. L'articolo si propone di sostenere che gli studiosi ellenistici osservavano le strategie corporee degli artisti senza pregiudizi riguardo al dominio degli attori nel raggiungimento degli effetti tragici. Certamente bisogna tenere conto che queste fonti trattano di rappresentazioni risalenti al V secolo: la memoria dell'erudizione antica rientra nel modo in cui viene considerato il fenomeno tragico. Questo articolo non parla della performance ma della registrazione della sua memoria.
Il Castello di Elsinore, 2022
Nel cantiere di Koltès. Mestiere della scrittura e condizione esistenziale in Combat de nègre et ... more Nel cantiere di Koltès. Mestiere della scrittura e condizione esistenziale in Combat de nègre et de chiens Manlio Marinelli «Finalmente, dopo cinque mesi di vita nei quali non potei scrivere niente di cui fossi contento e che nessun potere mi rifonderà, [...] mi viene l'idea di rivolgere un'altra volta la parola a me stesso» 1 abstract Towards the Koltès workshop After his previous work dedicated to Night just before the Forests, the author returns to exploring the relations between Koltès biographical elements and theatrical writing and how they intertwine in French dramatist's plays. The author employs the French playwright epistolary and interviews to identify characters biographical sources and places references in the pièce Black Battles with Dogs: through a metaphorical and allegorical process, the idea of metamorphosis becomes dramaturgical driving force and signature style characterizing Koltès wok.
The paper aims at exploring the Laws which rule the Body both in the work of actors and performer... more The paper aims at exploring the Laws which rule the Body both in the work of actors and performers in the Theatre of ancient Greece. Two sources are being examined dealing with this topic: the De Saltatione by Lucian of Samosata, and the Pro Saltatoribus by Libanius. This article analyzes the first source trying to highlight Body Strategies, such as gestures, training, semantic values. Lucianus underlines the close relationship between Body (soma) and Mind (psyché), relying on his idea of Thinking in Motion. As a conse- quence he rejects the supremacy of literacy and mind over performance and body
Libanius Pro Saltatoribus can be seen as a remarkable source dealing with the Body Laws which rul... more Libanius Pro Saltatoribus can be seen as a remarkable source dealing with the Body Laws which ruled ancient Performers. This article analyzes and aims at highlighting the Performer’s gestures, training and Body strategies in the way Libanius describes them to the reader. According to him, both actors’ mind and soul are not perverted by the rules of their physical performances. Henceforth, the Platonic and Aristotelian theory, which dated back to V and VI centuries, is rejected; at the same time the one growing up in the theatre milieu is strongly asserted. This treatise is an exhaustive source which goes deeply into the study of ancient theatre, of Performer acting and of playing
Dioniso. Rivista di studi sul teatro antico, 2016
Libanius Pro Saltatoribus can be seen as a remarkable source dealing with the Body Laws which rul... more Libanius Pro Saltatoribus can be seen as a remarkable source dealing with the Body Laws which ruled ancient Performers. This article analyzes and aims at highlighting the Performer's gestures, training and Body strategies in the way Libanius describes them to the reader. According to him, both actors' mind and soul are not perverted by the rules of their physical performances. Henceforth, the Platonic and Aristotelian theory, which dated back to V and VI centuries, is rejected; at the same time the one growing up in the theatre milieu is strongly asserted. This treatise is an exhaustive source which goes deeply into the study of ancient theatre, of Performer acting and of playing.
The paper aims at exploring the Laws which rule the Body both in the work of actors and performer... more The paper aims at exploring the Laws which rule the Body both in the work of actors and performers in the Theatre of ancient Greece. Two sources are being examined dealing with this topic: the De Saltatione by Lucian of Samosata, and the Pro Saltatoribus by Libanius. This article analyzes the first source trying to highlight Body Strategies, such as gestures, training, semantic values. Lucianus underlines the close relationship between Body (soma) and Mind (psyché), relying on his idea of Thinking in Motion. As a conse- quence he rejects the supremacy of literacy and mind over performance and body.
The tragical poets were used to composing both the verbal and the performing text. This article i... more The tragical poets were used to composing both the verbal and the performing text. This article is going to examine the sources which deal with this item. Going through Platon's Republic, Aristotle's Poetics, some of Aristophane's comedies and the ancient Scolia the author aims to reveal the tragical way of composing, in which the poets were involved both as writers and as metteur en scène.
In Bernard-Marie Koltès' artistical life there is a remarkable and sudden stylistic gap: the ... more In Bernard-Marie Koltès' artistical life there is a remarkable and sudden stylistic gap: the passage from his old way of writing and the new one is not progressive. In the late 70's his new pieces are absolutely different from his previous works. This article aims to show the origin of this new theatrical conception, emphasizing the significance of some biographical details. There is a traumatic moment in bmk's biography which accounts for the radical shift both in his life point of view and in his theatre. The night of Koltès is the night which upset his whole world, marking a real turning point in his life.
Culture Teatrali, 2020
The goal to be achieved in this article is to analyse the dramaturgical practice as both a craft ... more The goal to be achieved in this article is to analyse the dramaturgical practice as both a craft and a mind habit, which has been layering over numerous ages.
Thanks to Aristotle’s theories, the Author recognizes the origin of a tragic compositive idea, depending on the principle of “action composition”.
The Author analyses and goes through this idea, turning it into theatrical practice.
Looking back to ancient paradigms this article describes how this concept of theatrical “Verfassung” is sheer realistic practice inside the “Dramaturgie “. Moreover the Author identifies theories and modern versions (particularly Sartre and Müller) of it in the 20th century which, in spite of being still affected by Aristotle’s theories, actually show the realistic vividness inside the material culture of theatrical world.
MAIA, 2020
The paper aims at exploring the first twenty lines of Sophocles’ Ajax from a theatrical point of ... more The paper aims at exploring the first twenty lines of Sophocles’ Ajax from a theatrical point of view. The author analyses this sequence trying to highlight the performance strategies: Sophocles proposes a close relationship between scenic and dramaturgical levels. The actor playing the character of Athena is seated on the skené and observes from above the one playing Odysseus who evokes fear and caution by body strategies. The setting and the verbal text suggest such hierarchy between the characters and raise the emotional reaction of the audience.
Mimesis Journal, 2019
This article aims at examining the Greek point of view about the close, complex and disturbing re... more This article aims at examining the Greek point of view about the close, complex and disturbing relationship between role and gender in ancient Greek performance. The author proposes different sources, particularly several parts excerpted from Republic and Laws of Platon and the Fisiognomica of Pseudo-Aristotle. The analysis underlines a strong contradiction: in the practice of body and gesture, male and female elements are inextricably mixed but Greek authors wish they are separated with the aim of stating the superiority of male identity
