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Sotto Spoglie Di Donzella Corso di Dottorato di ricerca in Storia delle Arti ciclo XXX Tesi di Ricerca Sotto spoglie di Donzella Costume e attrezzeria femminile nella Tragedia Attica SSD: L-FIL-LET/05 Coordinatrice del Dottorato Ch. Prof.ssa Martina Frank Supervisore Ch. Prof.ssa Monica Centanni Co-tutor Ch. Prof. Nicola Pasqualicchio Dottorando Fabio Lo Piparo Matricola 956167 Fabio Lo Piparo Sotto spoglie di Donzella Costume e attrezzeria femminile nella Tragedia Attica Indice 0. Premessa i 1. Introduzione 1 1.1. Storia degli Studi 2 1.2. Metodologia 23 2. Intorno alle Tesmoforiazuse di Aristofane: il travestimento tragico nella Commedia Attica 34 2.1. Sinossi 34 2.2. Commento 49 2.2.1. Travestimento tragico, paratragico e tragicomico: nomenclatura 49 2.2.2. Travestimento tragico, paratragico e tragicomico: meccanica e teoria 60 2.2.2.1. L’interrogatorio di Mnesiloco ad Agatone 62 2.2.2.2. La poetica di Agatone 83 2.2.2.3. Il travestimento di Mnesiloco 94 2.2.2.4. Mnesiloco “eroe/eroina tragicomica” 115 2.3. Considerazioni preliminari 137 3. Lo strumentario della veggente: gli attributi di Cassandra nella Tragedia Attica 139 3.1. Gli attributi di Cassandra veggente nei frammenti tragici 139 3.1.1. Sofocle, Aiace Locrese 140 3.1.2. Sofocle, Cassandra 160 3.1.3. Euripide, Alessandro 167 3.2. Gli attributi di Cassandra veggente nell’Agamennone di Eschilo 182 3.3. Gli attributi di Cassandra veggente nelle Troiane di Euripide 221 4. La panoplia della dea: gli attributi di Atena nella Tragedia Attica 244 4.1. L’egida di Atena nelle Eumenidi di Eschilo 244 4.2. La Gorgone di Atena nell’Eretteo di Euripide 259 4.3. L’egida e la Gorgone di Atena nello Ione di Euripide 283 5. I paramenti della baccante: gli attributi dionisiaci nella Tragedia Attica 317 5.1. Gli attributi dionisiaci nelle trilogie frammentarie di Eschilo 317 5.2. Gli attributi dionisiaci nelle Baccanti di Euripide 329 6. Conclusioni 403 7. Bibliografia 406 Sotto spoglie di Donzella Premessa 0. Premessa Non fu già men forte Alcide benché in sen d’Onfale bella spesso l’armi egli posò. Né men fiero il gran Pelide sotto spoglie di Donzella d’Asia i regni minacciò. Con questi versi, nel primo atto de L’Orlando overo La Gelosa Pazzia, dramma sull’argomento del poema ariostesco composto nel 1711 da Carlo Sigismondo Capece e musicato da Domenico Scarlatti1, il paladino di Francia protagonista dell’opera dichiara di voler perseguire i propri intenti e continuare la quête di Angelica: gli illustri esempi dei suoi eroici predecessori testimoniano in favore della perfetta compatibilità tra le gesta guerriere e cavalleresche di Orlando e il suo servitium amoris per la principessa del Catai. La notorietà dell’aria riportata in trascrizione, ripresa alla lettera dall’anonimo librettista autore dell’Orlando, opera posta in musica da George Frideric Handel nel 1732 [Atto I – Scena III]2, costituisce l’ennesima prova – qualora ci fosse il bisogno di riaffermarla – della fortunatissima, capillare infiltrazione di personaggi e situazioni tratte dal vasto repertorio dell’antichità greca nelle espressioni letterarie, figurative, teatrali e musicali del panorama culturale europeo; nondimeno, degno di nota è il nucleo intorno al quale è impostata l’argomentazione retorica e poetica di Capece. A dispetto delle singolarità narrative che le contraddistinguono, le vicende mitiche affiancate di Ercole servo della regina Onfale in Lidia e di Achille ospite 1 L’Orlando overo La Gelosa Pazzia | Dramma da rappresentarsi nel Teatro Domestico della Regina Maria Casimira di Pollonia | Composto, e dedicato alla Maestà Sua da Carlo Sigismondo Capeci Suo Segretario | Fra gli Arcadi Metisto Olbiano, | E posto in musica dal Sig. Domenico Scarlatti, Mastro di Cappella di Sua Maestà. | In Roma, Per Antonio de’ Rossi alla Chiavica del Bufalo. 1711. 2 Orlando. Drama. Da rappresentarsi nel Regio Teatro di Hay-market. | by Handel. | Done into English by Mr. Humphreys. | London: Printed for T. Wood in Little-Britain, and are to be sold at the King’s Theatre in the Hay-Market. | MDCCXXXII. i Sotto spoglie di Donzella Premessa presso la corte di Licomede re di Sciro, rievocate da Orlando, trovano il loro punto di contatto nel motivo del travestimento femminile. Ercole e Achille, così, cedono le vesti e le armi che li contraddistinguono e li identificano come uomini e come eroi per appropriarsi di un habitus – un insieme di vesti e accessori, e ancora di corrispondenti maniere e stili di comportamento – proprio del genere opposto. Il tema rilevato rappresenta una tra le cifre peculiari e caratteristiche del teatro attico antico, dove eroine e divinità sono agite da interpreti rigorosamente di genere maschile. Dalla pratica teatrale alla mimesi drammaturgica, parimenti, il ricorso al travestimento femminile da parte di personaggi di genere maschile costituisce una risorsa non indifferente per gli autori teatrali di quinto e quarto secolo a.C., un tratto distintivo ricorrente negli intrecci di tragedia, commedia e dramma satiresco. Per un singolare gioco di somiglianze indirette e inconsapevoli riprese, l’ottonario “sotto spoglie di Donzella” costituisce una verosimile “libera versione lirica” di un verso tratto dal prologo delle Tesmoforiazuse di Aristofane: Ευρ. λάθρᾳ, στολὴν γυναικὸς ἠµφιεσµένον [Thesm. 92 Austin, Olson]. Ciò è supportato dalle analogie lessicali riscontrabili, ad esempio, con la traduzione in endecasillabi del medesimo verso realizzata dal conte Coriolano Malingri di Bagnolo nelle sue Tesmoforeggianti del 1850: “Euripide: Chiuso, ed involto infra donnesche spoglie”3. L’affinità proposta isola la prima di numerosissime attestazioni del travestimento femminile da parte di personaggi maschili in una commedia che si sviluppa e si struttura proprio intorno al cosciente, scoperto e divertito recupero in parodia di moduli drammaturgici e scenici tratti dal parallelo e contemporaneo genere tragico. Per questo motivo, insieme alla restante produzione aristofanea e più generalmente comica antica, le Tesmoforiazuse spiccano quale privilegiato serbatoio di informazioni per numerosi aspetti del fenomeno performativo attico nel suo complesso. Da ciò la scelta del titolo. “Sotto spoglie di Donzella”, così, si configura come una formulazione efficace per riassumere l’argomento della presente ricerca, dedicata 3 Malingri di Bagnolo 1850, 246. ii Sotto spoglie di Donzella Premessa ai costumi e all’attrezzeria femminile nella Tragedia Attica: una dimensione declinata e affrontata nelle sue due principali – e apparentemente contraddittorie – accezioni, il corredo di capi di vestiario e oggetti delle donne e, ancora, il travestimento da donne compiuto ad opera di personaggi maschili. *** iii Sotto spoglie di Donzella Introduzione 1. Introduzione La Tragedia Attica è prima di tutto teatro. L’apparente tautologia di questo enunciato contiene in sé il complesso sistema di codici indipendenti pur interdipendenti – poetico, verbale, mimico, gestuale, musicale, lirico, coreografico, scenografico, scenotecnico, costumistico, attrezzistico – sottesi al fenomeno performativo attico di quinto e quarto secolo a.C., convergenti nei momenti di composizione, produzione, esecuzione e fruizione della rappresentazione – lo “spettacolo teatrale” [Di Benedetto, Medda 1997] –, funzionali nella composizione e nella veicolazione di senso, contenuto e significato e direttamente o indirettamente testimoniati nelle fonti testuali e figurative su cui si fonda la tradizione teatrale antica. Nell’ambito di questo composito e polisemico sistema, l’insieme costituito dagli elementi di costume e attrezzeria in azione nei drammi si configura come una tra le componenti più rilevanti nella dimensione spettacolare, vero e proprio medium concreto che veicola la materializzazione sulla scena teatrale di dèi, eroi e personaggi del mito e del dramma, interpretati e impersonati dagli attori. Il travestimento tragico ha costituito e costituisce fulcro e oggetto di interesse privilegiato per una molteplicità di approcci, prospettive, metodologie e discipline, dalla filologia alla drammaturgia, dalla storia all’archeologia, dalla teoria teatrale alle scienze cognitive, un panorama di istanze, prodotti e operazioni scientifiche di cui si offre di seguito una sintetica ricognizione selettiva, intesa a evidenziare, senza alcuna pretesa di esaustvità, gli apporti e gli snodi critici fondamentali nella storia degli studi per l’argomento della presente ricerca. *** 1 Sotto spoglie di Donzella Introduzione 1.1. Storia degli Studi Il repertorio di documenti testuali e iconografici, distribuiti entro un intervallo cronologico e geografico i cui estremi comprendono l’Atene classica e Roma imperiale su cui si fondano le nostre conoscenze in materia, risulta sostanzialmente allestito e sistematizzato fin dalla prima, importante edizione dei Dramatic Festival of Athens di Sir Arthur W. Pickard Cambridge [Pickard Cambridge 1953], monumentale opera dedicata alla storia delle celebrazioni religiose e festive ateniesi in occasione dei concorsi drammatici. Questo fu oggetto di riedizione, revisione e aggiornamento nel 1968 a cura di J. Gould e D.M. Lewis [Pickard Cambridge 1968]. Le evidenze relative ai costumi della tragedia e del dramma satiresco sono qui raccolte, organizzate e presentate con attenzione a una loro corretta contestualizzazione, a scanso di fraintendimenti derivanti da considerazioni anacronistiche, e perciò inaccurate e inattendibili [Pickard Cambridge 1968, 177-209]. Il primo contributo monografico interamente dedicato all’attrezzeria tragica è costituito dalla dissertazione
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