Theatre Studies Research Papers - Academia.edu (original) (raw)

2025

A carencia de pesquisas sobre o ensino do teatro para criancas com deficiencia, bem como a ausencia de pesquisas e praticas que considerem essas mesmas criancas no campo da producao teatral para infância foram as motivacoes que ampararam a realizacao deste trabalho. Trazer a tona a invisibilidade da crianca com deficiencia, ressaltando e discutindo a indiferenca as suas diferencas sociais e culturais, nos campos do ensino do teatro e da producao teatral para a infância constituiu o objetivo principal desta investigacao. Outro objetivo foi analisar as experiencias realizadas nos anos entre 1998 e 2002 numa pesquisa de extensao da Universidade Federal de Pernambuco intitulada “Projeto Patio da Fantasia”. Tal projeto desenvolveu atividades teatrais para e com criancas, priorizando aquelas que tem alguma deficiencia. Para tanto, este estudo amparou-se nos pressupostos da pesquisa qualitativa e se baseou em referenciais teoricos dos campos do teatro, do teatro educacao e da educacao espe...

2025, Journal of Dramatic Theory and Criticism

2025, Journal of Film Music

This paper examines the life and career of Paul Lamkoff (1888-1953), a Russian Poland-born songwriter, composer, conductor, vocal coach, and synagogue cantor who arrived in Hollywood in 1924 and made pioneering contributions to early sound films, including The Jazz Singer (1927) and The Mysterious Island (1929). Lamkoff 's film music career was sporadic and shrouded in obscurity, and reconstructing his biography before, during, and outside the motion picture industry is complicated by shifting and inconsistent self-narratives he told to the press. Acknowledging these deficiencies, this paper is the first attempt to present a cogent and chronological portrait of Lamkoff 's life and contributions as revealed through the available sources.

2025, Millennium: Journal of International Studies

Introdução: A literatura clássica tem grande importância para a formação de leitores críticos. Por essa razão, este artigo propõe uma leitura atual das dificuldades dos vencedores que se evidenciam nas Troianas de Séneca: Pirro, Agamémnon, Ulisses, Aquiles e Helena. Desenvolvimento: Partindo de uma análise de conteúdo da obra, apresenta-se uma reflexão sobre as consequências dos sentimentos e das paixões. Torna-se evidente que quando o ser humano é confrontado consigo próprio e com a sua essência tudo vem à superfície: a virtude mais admirada (a moderação) e os defeitos mais desprezíveis (a arrogância, a brutalidade, a tirania, a hipocrisia e a cobardia). Conclusões: Conclui-se que a preocupação dos vencedores se centra na dúvida acerca do sucesso da viagem de regresso.

2025, Joyce Studies Annual 2023-24

This essay argues that Joyce's story ""Grace," at one point the final story of Dubliners, is not concerned with the Divine Comedy, as Joyce's brother Stanislaus claimed, but rather with the Divine Economy, the large story of Christian salvation from the Fall to the Last Judgment. It retells that story as a modern ironic allegory with the intention of criticizing the Church's intervention in that economy, sometimes called the Ecclesiastical Economy, and its appropriation of the function of the salvation of human souls through its administration of "actual grace."

2025, Pygmalion Revista De Teatro General Y Comparado

2025

is a key for understanding the work's deeper signifi cance. McCormick elucidates the philosophical tenet of nonduality as it would have been known by the Genji author and performs a close reading of the famous "defense of fi ction" passage in chapter 25 highlighting its Buddhist references and implications. She presents Edo-period portrait icons of the author Murasaki Shikibu, which explicitly equate her writing with the Four Gates to Prajña ¯ Wisdom, to show the lasting power of these Buddhist interpretations and the ways in which such insights were represented visually. Susan Klein's Allegories of Desire 3 exposed the excesses of theoretical acrobatics needed by medieval commentators to fi nd Buddhist signifi cance in Ise monogatari, but, by contrast, McCormick's essay reveals that Genji monogatari was indeed fertile ground for subtle and profound Buddhist interpretation. This volume presents a kaleidoscope of perspectives on Genji monogatari. The degree of abstraction implicit in its mandated philosophical approach makes patterns more apparent in the text. The immense variety of those patterns and their interlocking quality are dazzling. As the lens shifts from "space" to "exteriority/interiority" to "gender," it is almost as though a different novel appears. Most of the essays assume a high degree of familiarity with the text. Kamens's essay is the most demanding in that respect and Pandey's would be on the other end of that spectrum because it deals with the issues of gender and Buddhist world view on a general level. This is not a criticism of that essay, however, since it masterfully simplifi es these complex issues with no reduction of profundity. Nonetheless, since most of the essays are better appreciated with a good knowledge of the text, it is not easy to recommend this work to the general reader. On the other hand, the uniformly high level of literary quality in all the essays makes this work a pleasurable read. All in all, this work admirably fulfi lls its goal of providing a philosophical exploration of Genji monogatari.

2025, Creative Flight: An International Half-Yearly Open Access Peer-Reviewed E-Journal in English

About the Journal: Creative Flight is an international half-yearly open access peer-reviewed e-journal in English. The aim of this journal is to give opportunity to all writers to publish their originality especially in the field of... more

2025, Moving Bodies. Choreographies of Modernity

From the historical perspective, The Work of Dance: Movement, Labor, and Identity in the 1930s (2002) asked whether there had been an alternative modernism within North American modern dance during the so-called radical decade of the 1930s-an antimodernism or proletarian avant-garde-that had gone unrecognized or been submerged by subsequent events, notably by the House Un-American Activities Committee witch hunts of the early 1950s. The book shows there had been a politically radical modern

2025, Book Review in Economic and Political Weekly, Vol LX, No 20

2025, L’Arcadia in Europa. Correnti e scambi linguistici e culturali nel Settecento

Di là dallo stereotipo negativo di marca romantica e desanctisiana, l’Arcadia è stata costantemente animata dall’aspirazione a un dialogo internazionale e dalla ricerca di una dimensione europea: l’Accademia e i suoi singoli membri hanno intrecciato vivaci scambi con la Francia, con l’Inghilterra e con altre nazioni nello sforzo sia di coinvolgere le élites del Continente in una conversazione poetica, artistica e scientifica, sia di offrire all’Europa, dall’Italia, un’originale proposta culturale e linguistica. Il volume raccoglie i risultati dell’omonimo convegno ospitato il 15 e il 16 giugno 2023 dalla biblioteca Angelica di Roma: dodici contributi incentrati in vario modo – da una prospettiva arcadica – sulla lingua come vettore sovrannazionale della cultura italiana. Concepito per ricordare il quarantennale dell’uscita dell’Italiano in Europa di Gianfranco Folena, il convegno ha poi assunto come secondo nome tutelare quello di Luca Serianni, che ne aveva approvato e sostenuto l’organizzazione poco prima della tragica scomparsa.

2025

Antonio Maria Luigi Moroni, appartenente all’antica famiglia dei Moroni, è nato a Bergamo il 16 dicembre 1746 da Pietro e da Giovanna Santi. Conte e Cavaliere (primo membro della famiglia a ottenere tale titolo), fu ciambellano del duca Augusto Carlo di Sassonia-Weimar (1757-1828), grazie al quale ottenne nel 1783 il titolo nobiliare. Fautore delle nuove idee propugnate dalla rivoluzione francese, perciò poté essere nominato in seguito membro dei Comizi Nazionali di Lione e del Collegio elettorale dei Presidenti, quale rappresentante della Repubblica Cisalpina. Il saggio traccia un ampio e dettagliato excursus sulle opere del Moroni, dalle canzoni alla tragedia “Calista”, dalla storia della città di Bergamo alle composizioni celebrative.

2025

«Солдатский Отче наш» в русской рукописной и фольклорной традиции XVIII–XX веков : монография / С.В. Алпатов. — Москва : Издательство Московского университета, 2023. — 144, [1] с. — [Электронное издание сетевого распространения]. ISBN... more

«Солдатский Отче наш» в русской рукописной и фольклорной
традиции XVIII–XX веков : монография / С.В. Алпатов. — Москва
: Издательство Московского университета, 2023. — 144, [1] с. —
[Электронное издание сетевого распространения].
ISBN 978-5-19-011910-7 (e-book)

2025, Mirabilia Journal 40 (2025/1)

Tensões mediterrâneas culturais no Egito Romano à Luz do Λόγος Τέλειος (III AD) Tensions culturals mediterrànies a l’Egipte romà a la llum del Λόγος Τέλειος (III AD) Tensiones culturales mediterráneas en el Egipto romano a la luz del... more

2025

El teatro como expresión cultural y como recinto se remonta a la Grecia clásica del siglo V a.C. y a lo largo de la historia las ciudades han procurado tenerlo como un espacio de cultura y recreación. Mollendo, desde su fundación en 1871, procuró tener uno, posiblemente para el esparcimiento luego del arduo trabajo portuario; También, por ser una ciudad cuya población cosmopolita familiarizada con las culturas y costumbres de diversos países se mostró abierta al teatro, además, de ser el puerto de Mollendo la puerta de ingreso de compañías de teatro para sus presentaciones en la ciudad de Arequipa y otras del sur andino. El teatro de Mollendo, actualmente ubicado frente a la plaza Grau, la primera de este puerto, el pasaje Wilson y 28 de julio que desembocan en la antigua estación del ferrocarril y el Jirón Arequipa, avenida que termina en el malecón Ratty, anteriormente hotel Champin. El terreno inicialmente perteneció al Consejo Provincial de Islay, que en 1891 acordó cederlo a la Compañía de Bomberos. Esta decisión se debió a que, tiempo antes, los bomberos habían construido un "teatro" de materiales simples en un local denominado "Indo Club", el cual fue utilizado para ofrecer representaciones líricas y dramáticas a cargo de los voluntarios y algunas compañías que visitaban el puerto.

2025, Vivir para escribir: explorando una nueva forma de escribir a través de la actuación teatral

Vivir para escribir: explorando una nueva forma de escribir a través de la actuación teatral Esta obra está bajo una licencia de Creative Commons Reconocimiento-No Comercial 4.0 Internacional.

2025, Identificación de perfiles en las relaciones de grupo. …

Criterios y estrategias de segmentación de mercados... 8.1.2. El enfoque de marketing relacional en entidades de servicios de exhibición de artes escénicas.

2025

gráfico: representaciones y personajes principales en la recepción exitosa de Bodas de sangre en Grecia.

2025, Theatre Survey

One of the things that strikes one most forcibly in surviving images of early commedia dell'arte is its enigmatic physicality, the manner in which its actors everywhere adopt postures and make gestures that seem not merely emphatic and exaggerated but almost hieroglyphic, full of some additional implication, laden with a figural and emblematic resonance that we sense but no longer see. In general terms, this quality is easily understood, as the body clearly served in commedia as a complex and polyvalent instrument of expression. Its gestures and movements were, as in all theatre, indexically linked to dramatic action, and they also served, as in much masked drama, as surrogates for the facial expression of affect, in that the movements and aspects of the whole body were enlisted to articulate the motions and mien of a veiled face and to overcome or play upon the sensation of estranged speech produced by the half-mask's bifurcation of the visage. 1 Moreover, in a manner less familiar but illustrated well in Fig. , these movements and aspects also functioned as expressions in their own right, not articulating the affect or expression attendant upon immediate speech or situation or delineating the lines of external action but signaling the many impulses and various appetites of the world, the varied aspects of all persons and of the body

2025, Παλούκης Κ., «Αντανακλάσεις της ρωσικής επανάστασης στην Ελλάδα του 1917,» περ. Μαρξιστική Σκέψη, τ. 25, Φεβρουάριος - Μάιος

2025

In The Apocalypse of John among Its Critics, edited by Alexander E. Stewart and Alan Bandy (Lexham Press, 2023), 51-67.

2025

Karnad is a contemporary writer, playwright, screenwriter, actor and movie director in Kannada language. His rise as a playwright in 1960s marked the coming of age of Modern Indian playwriting in Kannada. He is a recipient of the 1998, Jnanpith Award the highest literary honor conferred in India. For four decades Karnad has been composing plays, often using history and mythology to tackle contemporary issues. He has translated his plays into English, and has received acclaim. His plays have been translated into some Indian languages. He is also active in the world of Indian cinema working as an actor, director, and screenwriter, both in Hindi and Kannada flicks, earning awards along the way. He was conferred Padma Shri and Padma Bhushan by the Government of India and also won four Film fare Awards where three are Film fare Award for Best Director -Kannada and one Film fare Best Screenplay Award. He in one of his interview to press speaks that he is a play writer first and an actor by luck. His Plays are Yayati, Tuglaq, Hayavdhana, and Naga Mandal. Naga Mandala was written by Karnad but mixture of two Kannada stories among which one was told by Prof.A.K.Ramanujam.

2025, Olivar

con una larga e importante trayectoria en la investigación teatral, en particular en lo que ella misma señala como "el promisorio campo de la reescritura". Sus aportes, en este sentido, han sido numerosos y valiosos además de abarcar un amplio corpus de obras y autores, clásicos y modernos, tanto españoles como latinoamericanos. Paralelamente, la indagación en torno a la dramaturgia de José Sanchis Sinisterra alcanzó volumen y entidad en sus estudios, al punto de constituirse en el tema de su tesis doctoral. Esta es, también, la génesis del libro que comentamos, tan necesario para el conocimiento del entramado textual de la obra del autor valenciano, considerado hoy un maestro de la dramaturgia iberoamericana y reconocido por las nuevas generaciones como un auténtico mentor y guía de los jóvenes autores. Su profusa obra dramática se completa con una no menos extensa y variada obra de reflexión teórico-crítica, consulta necesaria para muchos teatristas interesados no sólo en su teatro en particular sino en el teatro contemporáneo en general. El libro de Marcela Sosa viene a llenar un vacío: el de la sistematización de los aportes de Sanchis, como autor y como teórico del teatro, en lo referente a los procedimientos y formas de la Olivar Nº 15 (2011), 217-220.

2025

La política en Hannah Arendt y las derivas contemporáneas en el sujeto y la acción ISSN 2346-9935-Volumen 3 N° 5-Noviembre 2015 a Mayo 2016-pp 72-101 72 Totalitarismo, crisis del juicio y acción. Una reflexión acerca de la actualidad de las observaciones de Arendt sobre los regímenes totalitarios. Totalitarianism, Judgement Crisis and Action. Resumen: En Los orígenes del totalitarismo Hannah Arendt estudia algunas corrientes subterráneas de nuestra época que salieron a la superficie y cristalizaron en regímenes políticos radicalmente novedosos. En estos contextos, en los que el poder asediaba los espacios de participación y asfixiaba las voces disidentes, la acción política parecía imposible. Sin embargo, Arendt observa en su estudio dos formas contrastantes de habitar esos regímenes: el ejemplo de Adolf Eichmann, incapaz o renuente a actuar de modo consciente, y el modelo de las personas que encontraron maneras de tomar decisiones autónomas en las circunstancias más adversas. De ac...

2025

En Los origenes del totalitarismo Hannah Arendt estudia algunas corrientes subterraneas de nuestra epoca que salieron a la superficie y cristalizaron en regimenes politicos radicalmente novedosos. En estos contextos, en los que el poder asediaba los espacios de participacion y asfixiaba las voces disidentes, la accion politica parecia imposible. Sin embargo, Arendt observa en su estudio dos formas contrastantes de habitar esos regimenes: el ejemplo de Adolf Eichmann, incapaz o renuente a actuar de modo consciente, y el modelo de las personas que encontraron maneras de tomar decisiones autonomas en las circunstancias mas adversas. De acuerdo con la autora, lo que diferencio a las personas que resistieron del resto de la poblacion fue la capacidad y la determinacion de juzgar por ellas mismas. Asi, Arendt se encuentra con la importancia del juicio en politica, especialmente para evitar catastrofes. Y esto la lleva a detectar un problema acuciante de su tiempo: el miedo generalizado a ...

2025, International Conference VISUAL DRAMATURGIES: Scenography, Costumes & Movement on Early Modern Stages

Duke Carl Eugen von Württemberg spared no expense in creating magnificent and innovative opera, ballet and theatre at his court in Stuttgart by engaging renowned musicians, dancers, singers, actors, composers (Jommelli), choreographers (Noverre), costume designers (Boquet), and scenographers (Colomba) from Italy and France for his productions. As Colomba took a leave of absence in 1763-4 and N. Servandoni from Paris was appointed as his substitute, the creation of the stage decorations for the opera Demofoonte (and its ballet intermedia) is well documented in the archives. Colomba initially wanted to reuse existing decorations for 4 of the 8 stage sets – a pragmatic solution in view of his imminent absence. However, with the appointment of Servandoni, plans changed: not only were 6 new sets produced – 2 of them by Servandoni, who also created 13 new sets for the two ballets – but they were also more elaborate than originally planned, i.e. the number of flats and set pieces was increased.
None of the stage decorations for Demofoonte have survived; only the description in the festival book provides clues as to their appearance and effect. However, Portici, Atrio, Piazza, Porto di mare, Luogo magnifico etc. were typical stage decorations for an Italian opera. Comparisons with surviving stage sets, designs, presentation sheets and prints by Colomba, Servandoni and contemporary scenographers can provide further clues.
By comparing Metastasio’s indications in the libretto, the archival documents and the corresponding dramatic and musical setting, I would like to analyse the following:
Does the more elaborate design of the stage sets have an impact on the (visual) dramaturgy or stage action of the opera? Or did it merely enhance the splendour of the production?
I will concentrate on the stage sets which show multiple locations. The stage set Atrio del tempio di Apollo (II,8-10) is of particular interest for this type. Firstly, because Metastasio requires that the singers also act pantomimically in this stage set. Secondly, it also has the task of visualising the preliminary events leading up to the scene, thus it has an enhanced dramaturgical function.

2025

The paper examines the 1986 production of The Explosion on Ahalan Street by Israel's Orna Porat Theatre for Children and the controversy it sparked. The play, which portrayed a mixed Jewish-Arab family and dealt with the Israeli-Palestinian conflict, breached taboos in theatre for young audiences and exposed the limits of Israel's educational policies on Jewish-Arab coexistence. While initially supported by the Ministry of Education, the play faced growing opposition from rightwing critics and politicians, ultimately leading to the withdrawal of official recommendation for school audiences. The debate surrounding the play revealed contrasting views on the role of political content in TYA and perceptions of children's ability to engage with complex issues. Theatre critics grappled with balancing artistic critique and support for the play's social importance as controversy grew. The paper argues that the production became an "exception" that challenged the boundaries of tolerance within Israel's coexistence policy. It concludes that the play's reception demonstrated young audiences' capacity for nuanced engagement with political topics, contrary to assumptions about children's innocence or impressionability.

2025, Rêve d'Egypte

Un art qui a de la vie ne reproduit pas le passé; il le continue. » « Plus que tout l' Ë gyptien m'attire, il est pur. L'élégance de l'esprit s'enguirlande à toutes ses oeuvres. » Auguste Rodin

2025, Journal of emerging technologies and innovative research

Tennessee Williams most famous play The Glass Menagerie presents the socio-political conflicts of the contemporary society. The play refers to the 1930s era of Great Depression in America. It was a period of struggles against hopelessness that threatens their lives and family relationship. Middle class people suffered mostly specially the Wingfields who represents this kind of people. American dream is a pathway to escape from this suffering, but it is difficult to attain it. This dream is not only about material prosperity but it is all about success that is gained through hard work. The United States of America’s Declaration of Independence proclaims that ‘life, liberty and pursuit of happiness’ are rights of every individuals irrespective of their personal background. Most Americans believe that it can be achieved through hard work but this dream is like a myth.

2025

This thesis concerns analysis of climate and ecological crisis by realism in international relations. Firstly, realism is defined in contrast with neoliberalism. Next chapter describes Latour's and Moore's analyses of the causes of these crises, which identify the dichotomy between humans and non-human nature, the concept of nature as a passive object, accumulation of capital, and extractivist relationship with non-human nature. It is shown that attempts to synthesize realism and ecological thought cannot take these causes into consideration; therefore, these attempts are considered flawed. Thus, the degrowth movement is introduced as an alternative reaction to these crises, which overcomes their causes, but which does not present a comprehensive vision of global transformation. The last chapter offers a neo-gramscian analysis of international transition to degrowth. Key words international relations theory, ecorealism, New Climatic Regime, Capitalocene, degrowt

2025, https://homerica.hypotheses.org/

Publié initialement en polonais (2014), cet ouvrage imposant a été revu et augmenté par l’auteur pour la présente édition en anglais , fort bienvenue. Il s’agit de revenir sur la question très controversée du rapport de l’Iliade à l’oralité, telle qu’elle a été définie dans le courant issu des travaux de Milman Parry et Albert Lord, appelé en général « Oral Poetry », dont l’auteur est très résolument partisan, avec une argumentation très détaillée et très bien informée des arguments adverses, en même temps que de celle de la monumentalité du texte, évoquée dès la première page.
La question met très largement en cause les fragments du Cycle épique et il faut signaler, me semble-t-il, qu’un livre récent, paru en 2022, avait un objectif tout à fait analogue : Andrew Porter, Homer and the Epic Cycle. Recovering the Oral Traditional Relationship, Leiden/Boston, Classical Poetry, Brill Research Perspectives. En 126 pages au lieu de 663 pour Zieliński, donc en visant un public très différent. Il vaut donc la peine d’analyser de près les arguments très détaillés et très savants de ce dernier.
Lisez la suite du compte rendu complet si vous êtes intéresse(e)

2025, Canadian Woman Studies

2025, Krzysztofory. Zeszyty Naukowe Muzeum Historycznego Miasta Krakowa

Zasadniczym tematem artykułu jest próba umiejscowienia muzeum we współczesnym świecie oraz zaproponowanie wizji jego funkcjonowania i rozwoju opartej na aktywności w przestrzeni i debacie publicznej. Zwrócono uwagę na znaczenie edukacji w kontekście jej celów, formy i skali ze szczególnym uwzględnieniem budowania społeczności wokół muzeum przy wykorzystaniu narzędzi partycypacyjnych. Podjęto również kwestię aktywnego uczestnictwa muzeum w życiu społecznym, zaangażowania w debatę o rzeczach ważnych dla zbiorowości. Pokazana została wizja muzeum, które nie stoi obok wydarzeń, ale je na bieżąco dokumentuje, komentuje i zachęca do rozmowy o nich. I w końcu przedstawiono propozycję muzeum przedsiębiorczego zarówno w aspekcie ekonomicznym -konkurującego i współpracującego z podmiotami komercyjnymi na rynku czasu wolnego -jak i organizacyjnym i rozwojowym. Niniejszy artykuł stanowi zatem prezentację wizji muzeum nowoczesnego, jednak nie w rozumieniu używania nowych technologii, lecz form funkcjonowania, a więc przedsiębiorczego, aktywnego na różnych polach działania i zaangażowanego, które może być parterem dla różnych społeczności.

2025, Lapurdum

Ce document a été généré automatiquement le 6 février 2024. Le texte seul est utilisable sous licence CC BY-NC-ND 4.0. Les autres éléments (illustrations, fichiers annexes importés) sont « Tous droits réservés », sauf mention contraire.

2025

Wenn von nun an ein Wort auf allen Lippen haftet, so ist es wohl jenes der «Revolution». In dieser «Sattelzeit» 2 , während dieser fünf oder sechs Jahrzehnte, die das Jahr 1800 umgeben, von denen wir nicht wirklich wissen, ob es sich um ein 18. Jahrhundert handelt, das sich jenseits seiner Grenzen erstreckt oder um ein langes 19. Jahrhundert, dessen Anfänge flussaufwärts wahrnehmbar sind, in diesem zeitlichen Watt, das die Gezeiten der Jahrhunderte auf-und zudecken, und in dem sich ihre Gewässer vermischen, ist oft von Revolution die Rede. Doch dass man sich nicht darüber täuscht: es handelt sich dabei nicht um das lateinische revolutio, das den Vollzug der Bewegung der Sterne beschreibt; ebenso wenig um die mutatio, die brutale und unheilvolle Veränderungen bezeichnet oder um die moderne Wortbedeutung zeitlicher Zyklen. Nein, es handelt sich um einen neuen Sinn, um den es hier geht, ein Sinn, der sich entlang zweier Hauptzweige ausbreitet: wenn sie politisch ist (Joseph Mandrillon spricht 1782 womöglich das erste Mal von der «amerikanischen Revolution»), lässt die Revolution eine neue soziale Figur entstehen-das Volk; wenn sie technologisch ist (der Neologismus industrielle Revolution ist 1837 unter der Feder von Auguste Blanqui belegt), handelt es sich um eine Veränderung des Rhythmus, den sie herbeiführt-die Beschleunigung. 3 Der Historiker Jacob Burckhardt hat die revolutionäre Krise folglich als einen «beschleunigten Prozess» 4 definiert. In diesem Schmelztiegel der Revolutionen, in dem sich die Geburt einer neuen Welt abspielt, die von dem getragen wird, was man später die industrielle Moderne nennen wird, wird der Platz der langsamen Menschen erneut in Frage gestellt: auch wenn wir ein bisschen

2025

Mise en Abyme is a peer-reviewed international journal dedicated to comparative literature and the arts. It is published twice yearly by Bel-Ami Edizioni (Rome). Each edition will cover a broad range of topics, making it possible for varied research interests to be featured in each volume. The journal consists of a monographic section, a miscellaneous one (from issue nr 2) and an appendix containing book and conference reviews. Thanks to its international Advisory Board, Mise en Abyme aims at reaching a global audience of scholars. Contributions are welcome in English, Italian, Spanish or French. The monographic section of the first issue is devoted to Pier Paolo Pasolini, a multifaceted author whose work encompasses a wide spectrum of arts -literature, film and theatre -, therefore making him an ideal reference for comparative studies. Because of his position as a prominent European intellectual with an interdisciplinary approach, Pasolini's work has been understood and reinvented by several artists globally. For this reason, in this issue, we have chosen to put him in the 'background' in order to analyse the connections between his production and the one of his contemporaries, as well as of the following generations.

2025

The following contribution aims to analyse two adaptations of Pier Paolo Pasolini's Teorema, written and directed by, respectively, Grzegorz Jarzyna and Mikołaj Mikołajczyk. In the first, T.E.O.R.E.M.A.T., Jarzyna works both on Pasolini's novel and film, creating a performance composed of the distorted use of the voice, silent dialogues and proximity games, producing a highly conceptual effect. In his Wszystko jutro, czyli lalki wybawione, Mikołajczyk, on the other hand, recreates Pasolini's story as a choreographed drama, which examines the dilemmas posed by the Italian author.

2025

Resumen: Este artículo se centra en la relación entre los poemas "Paseo de los tristes" de Javier Egea y "Le ceneri di Gramsci" de Pier Paolo Pasolini. A pesar de que el poemetto del italiano fue una referencia imprescindible para la composición de "Paseo de los tristes", las dos obras presentan diferencias notables, tanto en su organización formal como en el planteamiento estético subyacente. Palabras clave: Javier Egea, "Paseo de los tristes", Pier Paolo Pasolini, "Le ceneri di Gramsci", compromiso político. Abstract: This work focuses on the relationship between Javier Egea's "Paseo de los tristes" and Pier Paolo Pasolini's "Le ceneri di Gramsci". Despite the latter being a highly influential reference for the composition of "Paseo de los tristes", the two poems show remarkable differences, both at discourse level and in their underlying aesthetic approach. En una entrevista editada hace trein...

2025

È difficile porre in relazioni due culture all'apparenza così distanti come quella mediterranea e del Sud Italia di Luigi Pirandello con un'altra sicuramente ascrivibile alle tendenze dell'Europa continentale e centrale di Witold Gombrowicz, ma come, ben nota Karol Karp, si tratta di una lontananza soltanto geografica se si pensa, in primo luogo, a quanto Pirandello, anche grazie al suo soggiorno berlinese, sia pienamente dentro i flussi culturali tra XIX e XX secolo e della prima metà di quest'ultimo. Karp si muove proprio nell'ambito di un dualismo e di elementi di vicinanza tra i due autori. Questo dualismo risulta ben evidente dalle prime pagine in cui si evince perfettamente l'impianto metodologico, così come le risorse bibliografiche utilizzate dall'autore, ovvero una solida base critica che fa capo a studiosi di area italiana e polacca. Così, ad esempio, contrappone Jerzy Adamski ad Adriano Tilgher, che, se è possibile muovere una piccola osservazione, non andrebbe considerato solo come "grande studioso dell'arte teatrale pirandelliana", ma il vero teorizzatore e creatore del pirandellismo, ancor più di Pirandello stesso, come fa notare Franca Angelini. Importante sottolineare, e Karp lo fa, come la creazione drammatica di Gombrowicz, benché importante, non sia tanto vasta quanto quella di Pirandello, e quindi, per trovare somiglianze tra le due produzioni, bisogna partire dalle strutture teatrali stesse dello scrittore di Girgenti. Dopo aver messo ben in risalto, quindi, quello che è lo stato dell'arte degli studi pirandelliani, con particolare riferimento agli elementi di pirandellismo che si sono propagati sino a Gombrowicz, citando opportunamente contributi di Vicentini, Puppa, Angelini, Bronowski e altri, così come l'avanzamento della critica gombrowicziana, Karp suddivide, in maniera molto funzionale, il suo lavoro in due parti: nella prima enuclea gli aspetti fondamentali del teatro di Pirandello, dal ruolo della maschera, del mito, della società sino al raissonneur; nella seconda utilizza quanto prima enunciato e va letteralmente a caccia di elementi che possano ricondurre le opere teatrali di Gombrowicz allo scrittore siciliano. È una ricerca che, sebbene affrontata anche

2025

The present article analyses Pasolini's definition of Uccellacci e uccellini as 'ideo-comic fable'. The film has always been considered as an eccentric parenthesis in Pasolini's work, and the 'ideo-comic fable' as a bizarre, short lived, experiment. In fact Uccellacci e uccellini is the only film of its kind, but a detailed analysis of each element of Pasolini's neologism will show how rooted into Pasolini's artistic practice they all are: if political ideology has always been at the heart of Pasolini's work, the film shows a new direction, in which the director's Marxism crosses Christianity; it will be shown how Pasolini has always been surprisingly familiar with the comic genre, and finally a record will be traced of Pasolini's competence and use of fables. Such a comprehensive examination will unearth many of Pasolini's sources and its dialogue with other artists and intellectuals; finally, it aims at contributing a new approach to...

2025