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La Commedia a Teatro. Gli Intepreti Di Dante
UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà di Studi Umanistici Corso di Laurea Magistrale in Editoria, Culture della Comunicazione e della Moda LA COMMEDIA A TEATRO: GLI INTERPRETI DI DANTE Relatore: Ch.ma Prof.ssa Giuliana NUVOLI Correlatore: Ch.mo Prof. Bruno PISCHEDDA Tesi di laurea di: Greta Maria SPOTTI Matr. 902719 Anno Accademico 2017/2018 2 INTRODUZIONE 1. DANTE IN SCENA: CONSIDERAZIONI GENERALI SULLE TRASPOSIZIONI ORALI DEL POEMA 1.1 La trasmissione orale della Commedia 1.2 La teatralità della Commedia 1.3 I generi della Commedia a teatro 1.4 Il valore didattico delle drammatizzazioni della Commedia 2. INTERPRETARE DANTE 2.1 Introduzione al personaggio di Dante nella Commedia 2.2 Dire Dante: l’esecuzione della Commedia 2.3 Impersonare Dante: la scelta del costume teatrale 2.4 Le chiavi di lettura per Dante e la sua Commedia 3. LA COMMEDIA A TEATRO NELL’OTTOCENTO: L’AVVIO DI UN NUOVO FORMAT CON GUSTAVO MODENA 3.1 Teatro e politica nelle Dantate 3.2 L’eco delle Dantate nelle performance per il sesto centenario della nascita dell’Alighieri 4. INTERPRETARE DANTE NEL XXI SECOLO 4.1 Il Dante di Benigni 4.2 Vergine madre di Lucilla Giagnoni BIBLIOGRAFIA 3 INTRODUZIONE In questa ricerca, La Commedia a teatro: gli interpreti di Dante, prendo in esame modalità e tempi con i quali viene proposta e drammatizzata a teatro la Divina Commedia di Dante Alighieri, opera letteraria alla base della nostra cultura nazionale e che vanta, inoltre, un indiscutibile successo a livello mondiale. In particolare, analizzo come sia mutata l’interpretazione e l’immagine presentata in scena di Dante, autore e, al contempo, personaggio protagonista del poema. -
Indipendenza
ItinerariItinerari PIAZZE FFIRENZEIRENZE e 17th may 2009 nell’nell’800 MUSICA Piazza dell’Indipendenza The 19th Century Florence itineraries: Squares and Music ThTTheh brass band of the Scuola Marescialli e Brigadieri deddeie Carabinieri is one of the fi ve Carabinieri bands whwwhoseh origin lies in the buglers of the various Legions TheTh 19th19th CenturyC t FlorenceFl ititinerariesi i – 17th1717 h may 2009200009 of the Carabinieri, from which the fi rst bands were designed signifi cantly to coincide with Piazza later formed with brass and percussion instruments. the150th anniversary of the unifi cation of dell’Indipendenza, Today the Brass Band – based in Florence at the Tuscany to the newly born unifi ed state (1859 11.00 am-12.30 am School with the same name – is a small band with – 2009) – will take citizens and tourists on the a varied repertoire (symphonies, operas, fi lm sound discovery of the traces of a Century that left a Fanfara (Brass tracks as well as blues and jazz), especially trained for profound impression on the face of Florence. band) of the its main activity: the performance of ceremonies with The idea is to restore the role of 19th Century Scuola Marescialli assemblies and marches typical of military music. The band wears the so-called Grande Uniforme Speciale, a Florence within the collective imagination, e Brigadieri alongside the Florence of Medieval and very special uniform with its typical hat known as the Renaissance times. This is why one of the dell’Arma dei “lucerna” (cocked hat) and the red and white plume Carabinieri that sets it apart from the musicians of other units of Century’s typical customs will be renewed: the Carabinieri (red-blue plume). -
A British Reflection: the Relationship Between Dante's Comedy and The
A British Reflection: the Relationship between Dante’s Comedy and the Italian Fascist Movement and Regime during the 1920s and 1930s with references to the Risorgimento. Keon Esky A thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy, Faculty of Arts and Social Sciences. University of Sydney 2016 KEON ESKY Fig. 1 Raffaello Sanzio, ‘La Disputa’ (detail) 1510-11, Fresco - Stanza della Segnatura, Palazzi Pontifici, Vatican. KEON ESKY ii I dedicate this thesis to my late father who would have wanted me to embark on such a journey, and to my partner who with patience and love has never stopped believing that I could do it. KEON ESKY iii ACKNOWLEDGEMENTS This thesis owes a debt of gratitude to many people in many different countries, and indeed continents. They have all contributed in various measures to the completion of this endeavour. However, this study is deeply indebted first and foremost to my supervisor Dr. Francesco Borghesi. Without his assistance throughout these many years, this thesis would not have been possible. For his support, patience, motivation, and vast knowledge I shall be forever thankful. He truly was my Virgil. Besides my supervisor, I would like to thank the whole Department of Italian Studies at the University of Sydney, who have patiently worked with me and assisted me when I needed it. My sincere thanks go to Dr. Rubino and the rest of the committees that in the years have formed the panel for the Annual Reviews for their insightful comments and encouragement, but equally for their firm questioning, which helped me widening the scope of my research and accept other perspectives. -
CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale Di Venezia La Biennale Di Venezia President Presents Roberto Cicutto
LE MUSE INQUIETE WHEN LA BIENNALE DI VENEZIA MEETS HISTORY CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale di Venezia La Biennale di Venezia President presents Roberto Cicutto Board The Disquieted Muses. Luigi Brugnaro Vicepresidente When La Biennale di Venezia Meets History Claudia Ferrazzi Luca Zaia Auditors’ Committee Jair Lorenco Presidente Stefania Bortoletti Anna Maria Como in collaboration with Director General Istituto Luce-Cinecittà e Rai Teche Andrea Del Mercato and with AAMOD-Fondazione Archivio Audiovisivo del Movimento Operaio e Democratico Archivio Centrale dello Stato Archivio Ugo Mulas Bianconero Archivio Cameraphoto Epoche Fondazione Modena Arti Visive Galleria Nazionale d’Arte Moderna e Contemporanea IVESER Istituto Veneziano per la Storia della Resistenza e della Società Contemporanea LIMA Amsterdam Peggy Guggenheim Collection Tate Modern THE DISQUIETED MUSES… The title of the exhibition The Disquieted Muses. When La Biennale di Venezia Meets History does not just convey the content that visitors to the Central Pavilion in the Giardini della Biennale will encounter, but also a vision. Disquiet serves as a driving force behind research, which requires dialogue to verify its theories and needs history to absorb knowledge. This is what La Biennale does and will continue to do as it seeks to reinforce a methodology that creates even stronger bonds between its own disciplines. There are six Muses at the Biennale: Art, Architecture, Cinema, Theatre, Music and Dance, given a voice through the great events that fill Venice and the world every year. There are the places that serve as venues for all of La Biennale’s activities: the Giardini, the Arsenale, the Palazzo del Cinema and other cinemas on the Lido, the theatres, the city of Venice itself. -
La Commedia in Palcoscenico. Appunti Su Una Ricerca Da Fare Dante E L’Arte 1, 2014 67-84
La Commedia in palcoscenico. Appunti su una ricerca da fare Dante e l’arte 1, 2014 67-84 La Commedia in palcoscenico. Appunti su una ricerca da fare Marzia Pieri Università di Siena [email protected] Riassunto 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 spet- tatori, e la cui popolarità non accenna ancora oggi ad esaurirsi. Il fenomeno delle “dan- tate” – 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. Parole chiave: Divina Commedia, Risorgimento, Recital, Gustavo Modena, Roberto Benigni, Firenze capitale, cinema muto. Abstract For the last two centuries in Italy, the Divine Comedy has been made subject of dramati- zed 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 risorgimen- tale adventure for the sake of gaining independence. -
Nagakura.Pdf (18.08Kb)
EUROGRAPHICS ’99 / M.A.Alberti, G.Gallo, I, Jelinek Short Papers and Demos The Danteum Takehiko Nagakura Massachusetts Institute of Technology, USA [email protected] __________________________________________________________________________________________ Abstract The Danteum was a building designed for Rome in 1938 by two eminent Italian architects, Giuseppe Terragni and Pietro Lingeri. Due to the defeat of their client, Mussolini, in WW II, the project was never realized and became one of the best known unbuilt modern projects. Through the use of advanced computer graphics technology, an attempt has been made to simulate a walk-through experience of light and materials inside this unbuilt monument. This animated representation revealed two of the important spatial characters embedded in the design of this building: a constant oscillation of dark and light as well as that of closed and open. __________________________________________________________________________________________ Keywords: Danteum, Terragni, Lingeri, Radiance 3. Simulation Technology 1. History For precise light and material simulation, a global The Danteum, a building designed in 1938 for illumination software, RADIANCE [2] was used in Mussolini, was never physically realized, but its combination with a custom-made walk-through significance in the context of the European modern generator program. Evey frame of a 5 minute architecture movement has been much studied by sequence was first rendered into a 4-byte .pic image, many architectural historians such as Thomas then filtered down into a regular 24-bit color image. Schumacher [1], whose documentation is utilized as The filter, as a pupil, adjusted each frame’s exposure the main archival source for this investigation. Among and achieved appropriate transition between bright architects, the Danteum is also well known for its exterior and dark interior space. -
Rewriting Dante: the Creation of an Author from the Middle Ages to Modernity
Rewriting Dante: The Creation of an Author from the Middle Ages to Modernity by Laura Banella Department of Romance Studies Duke University Date: _______________ Approved: ___________________________ Martin G. Eisner, Supervisor ___________________________ David F. Bell, III ___________________________ Roberto Dainotto ___________________________ Valeria Finucci Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2018 ABSTRACT Rewriting Dante: The Creation of an Author from the Middle Ages to Modernity by Laura Banella Department of Romance Studies Duke University Date: _________________ Approved: ___________________________ Martin G. Eisner, Supervisor ___________________________ David F. Bell, III ___________________________ Roberto Dainotto ___________________________ Valeria Finucci An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2018 Copyright by Laura Banella 2018 Abstract Rewriting Dante explores Dante’s reception and the construction of his figure as an author in early lyric anthologies and modern editions. While Dante’s reception and his transformation into a cultural authority have traditionally been investigated from the point of view of the Commedia, I argue that these lyric anthologies provide a new perspective for understanding how the physical act of rewriting Dante’s poems in various combinations and with other texts has shaped what I call after Foucault the Dante function” and consecrated Dante as an author from the Middle Ages to Modernity. The study of these lyric anthologies widens our understanding of the process of Dante’s canonization as an author and, thus, as an authority (auctor & auctoritas), advancing our awareness of authors both as entities that generate power and that are generated by power. -
American Dante Bibliography for 2001.Pdf
American Dante Bibliography for 2001 Christopher Kleinhenz This bibliography is intended to include all the Dante translations published in North America in 2001 and all Dante studies and reviews published in 2001 that are in any sense North American. The latter criterion is construed to include foreign reviews of North American publications pertaining to Dante. Books Alfie, Fabian. Comedy and Culture: Cecco Angiolieri’s Poetry and Late Medieval Society. Leeds: Northern Universities Press, 2001. vi, 216 p. (Italian Perspectives, 7) Contents: Acknowledgements (vi); Introduction. The Trouble with Cecco: The ‘State of the Question’ and Difficulties Inherent in a Study of Angiolieri (1-17); I. Comedy and Culture: Cecco Angiolieri and the Comic Traditions (19-43); II. Love and Literature: Cecco Angiolieri’s Relationship with the Amorous Lyric Traditions (45-81); III. Poverty and Poetry: Cecco Angiolieri’s Position in the Evolution of a Vernacular Trope (83-113); IV. Insult and Injury: Vituperium in the Poetry of Cecco Angiolieri (115-143); V. Cecco, Simone, Dante and Guelfo: Correspondence among Angiolieri’s Poetry (145-163); VI. Fact or Fiction: Cecco Angiolieri’s Poetic Self-Presentation (165-192); Bibliography (193-209); Index of References to Angiolieri’s Sonnets (211-212); General Index (213-216). Barolini, Teodolinda. Desire and Death, or Francesca and Guido Cavalcanti: Inferno 5 in its Lyric Context. Binghamton: Center for Medieval and Renaissance Studies, State University of New York at Binghamton, 2001. 50 p. (Bernardo Lecture Series, No. 9) “Explores the lyric context of Inferno 5, paying particular attention to how Italian lyric poets like Giacomo da Lentini, Guido delle Colonne, Guittone d’Arezzo, Guido Cavalcanti, and Dante himself had framed the issue of desire insufficiently controlled by reason. -
1 LUGLIO XXX Ravenna Festival - Ore 21:30 Ravenna, Chiostro Della Biblioteca Classense Quartetto Echos
2019 1 LUGLIO XXX Ravenna Festival - ore 21:30 Ravenna, Chiostro della Biblioteca Classense Quartetto Echos dal 15 al 19 VILLA LA FONTE - Execution Time LUGLIO European University Institute ore 13. -
ENTRE EPÍGONOS Y AUTOINSPECCIÓN Actas Del II Congreso Andino De Estudios Sobre Dante Alighieri
ENTRE EPÍGONOS Y AUTOINSPECCIÓN Actas del II Congreso Andino de Estudios sobre Dante Alighieri 22-24 de octubre de 2018 Patrizia Di Patre Editora ENTRE EPÍGONOS Y AUTOINSPECCIÓN Actas del II Congreso Andino de Estudios sobre Dante Alighieri 22-24 de octubre de 2018 © 2020 Rino Caputo, Roberto González Echevarría, Paolo Cherchi, Emilia Perassi, Vincenzo Vespri, Patrizia Di Patre, Rosario de Fátima A’Lmea Suárez, Carlos Aulestia, César Eduardo Carrión, David Chamorro Espinosa, S.J., Esteban Crespo, Ana Estrella Santos, Francesco Ferrari, Valentina Virdis. © 2020 Pontificia Universidad Católica del Ecuador Centro de Publicaciones Quito, Av. 12 de Octubre y Robles Apartado n.º 17-01-2184 Telf: (593) (02) 2991 700, ext. 1711 [email protected] Pontificia Universidad Católica del Ecuador Dr. Fernando Ponce León, S. J. Rector Dr. Fernando Barredo Heinert, S. J. Vicerrector Mtr. Paulina Barahona Directora General Académica Verónica Yépez Reyes, PhD Decana de la Facultad de Comunicación y Linguística Mtr. Santiago Vizcaíno Director del Centro de Publicaciones Comité Científico Rino Caputo (Università di Roma “Tor Vergata”) César Eduardo Carrión (PUCE) Paolo Cherchi (University of Chicago) Patrizia Di Patre (PUCE) Roberto González Echevarría (University of Yale) Giuseppe Mazzotta (University of Yale) Emilia Perassi (Università di Milano) Vincenzo Vespri (Università di Firenze). Foto portada: Interior de la Iglesia de San Francisco en Quito Diseño y portada: Rosa Calahorrano ISBN: 978-9978-77-493-9 ÍNDICE AGRADECIMIENTOS ................................................................... 9 INTRODUCCIÓN............................................................................. 11 I SECCIÓN CONFERENCIAS MAGISTRALES PURGATORIO XVII LA PACE COME CENTRO E CERCHIO Rino Caputo Università di Roma “Tor Vergata” ................................................. 35 PURGATORIO XVII LA PAZ COMO CENTRO Y CÍRCULO Rino Caputo Universidad de Roma “Tor Vergata” ............................................ -
Architecture and Materials in the First Half of the 20Th Century in Italy
G. Bernardo & L. Palmero Iglesias, Int. J. of Herit. Archit., Vol. 1, No. 4 (2017) 593–607 ARCHITECTURE AND MatERIALS IN THE FIRST HALF OF THE 20TH CENTURY IN ItaLY G. BERNARDO1 & L. PALMERO IGLESIAS2 1Department of European and Mediterranean Cultures, University of Basilicata, Italy. 2Department of Architectural Constructions, Technical University of Valencia, Spain. ABSTRACT The architecture and the materials used in the constructions have always been the symbol of the culture and progress of a people. Each historical period can be described in its complexity through the architectural heritage. The built environment is really an extraordinary testimony of the creativity and intelligence of humankind, of its enormous possibilities but also of its limitations as well as of a certain sensitivity and world view. This paper illustrates a multidisciplinary and historical-critical study of the main architectural trends in Italy in the first half of the 20th century: from the Futurism of the early 20th century to the rationalism of the fascist period. The work is focused on the role of the architecture in the socio-economic development of a country and on the complex relation- ship between materials innovation and architecture, which originates even today the debate between modernity and tradition. The results highlight the outstanding importance in the evolution of the different ways of conceiving architecture. It can be just a Utopia as in the Futuristic architecture, a drive towards a better world which will be able to meet the growing needs of an ever-changing world, or rise to fulfil the function of science and art through the innovative use of new materials and manufacturing technologies. -
Civic Genealogy from Brunetto to Dante
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2016 The Root Of All Evil: Civic Genealogy From Brunetto To Dante Chelsea A. Pomponio University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Medieval Studies Commons Recommended Citation Pomponio, Chelsea A., "The Root Of All Evil: Civic Genealogy From Brunetto To Dante" (2016). Publicly Accessible Penn Dissertations. 2534. https://repository.upenn.edu/edissertations/2534 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2534 For more information, please contact [email protected]. The Root Of All Evil: Civic Genealogy From Brunetto To Dante Abstract ABSTRACT THE ROOT OF ALL EVIL: CIVIC GENEALOGY FROM BRUNETTO TO DANTE Chelsea A. Pomponio Kevin Brownlee From the thirteenth century well into the Renaissance, the legend of Florence’s origins, which cast Fiesole as the antithesis of Florentine values, was continuously rewritten to reflect the changing nature of Tuscan society. Modern criticism has tended to dismiss the legend of Florence as a purely literary conceit that bore little relation to contemporary issues. Tracing the origins of the legend in the chronicles of the Duecento to its variants in the works of Brunetto Latini and Dante Alighieri, I contend that the legend was instead a highly adaptive mode of legitimation that proved crucial in the negotiation of medieval Florentine identity. My research reveals that the legend could be continually rewritten to serve the interests of collective and individual authorities. Versions of the legend were crafted to support both republican Guelfs and imperial Ghibellines; to curry favor with the Angevin rulers of Florence and to advance an ethnocentric policy against immigrants; to support the feudal system of privilege and to condemn elite misrule; to denounce the mercantile value of profit and ot praise economic freedom.