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Aaaaaaaaaaaaaaaa Aa Ccademia University Press MJ Mimesis Journal EDITORIALE Se tutti i teatri chiudessero Mimesis Journal 2020 vol. 9, n. 2 dicembre Alessandro Pontremoli SAGGI MJ «A quale dito di Stockhausen sei appeso?». Musica intuitiva e libera improvvisazione Mimesis Journal ai Corsi estivi di Darmstadt 1969-1970 Pietro Cavallotti Scritture della performance Aspettando Godot e la cosmogonia teatrale di Carlo Quartucci Maria Grazia Berlangieri vol. 9, n. 2 dicembre 2020 ‘Un mare di parole’ tra Assoli e Udunda Indina. Il plurilinguismo “malato” di Leo e Perla nella fase di rientro capitolino Matteo Tamborrino Per una traditio dell’opera di Franco Scaldati. Totò e Vicé, Assassina e Ombre folli secondo Randisi-Vetrano Domenico Giuseppe Lipani Contro l’egemonia di genere. Il voguing come danza di resistenza Andrea Zardi Uova fatali. I. Il sistema scenico-drammatico neosovietico russo negli anni della formazione (1924-1928) Massimo Lenzi PUNTI DI VISTA Esplorare la commedia romantica shakespeariana al Silvano Toti Globe Theatre di Roma. Conversazione con Loredana Scaramella (parte prima) Maddalena Pennacchia e Fabrizio Deriu Il tango patrimonio culturale immateriale. Intervista a Pablo Moyano e Roberta Beccarini Elisa Anzellotti LETTURE E VISIONI Inconscio mimetico e “attori signori”. Sul progetto di ricerca HOM: Homo Mimeticus Fabrizio Deriu aAaAaAaAaAaAaAaA aA ccademia university press MJ Mimesis Journal Scritture della performance vol. 9, n. 2 dicembre 2020 direttore Alessandro Pontremoli vicedirettore Antonio Pizzo comitato scientifico Antonio Attisani Università degli Studi di Torino Florinda Cambria Università degli Studi di Milano Lorenzo Mango Università degli Studi L’Orientale di Napoli Tatiana Motta Lima Universidade Federal do Estado do Rio de Janeiro Kris Salata Florida State University Carlo Sini Università degli Studi di Milano comitato editoriale Edoardo Giovanni Carlotti Roberta Carpani Livia Cavaglieri Fabrizio Deriu Valentina Garavaglia Fabrizio Fiaschini Susanne Franco Massimo Lenzi Leonardo Mancini Eva Marinai Federica Mazzocchi Armando Petrini Annamaria Sapienza Stefano Tomassini segreteria di redazione Giacomo Albert, Emanuele Giannasca, Leonardo Mancini, Matteo Tamborrino ISSN 2279-7203 Registrazione Tribunale di Torino R.G. 903 / 2017 © 2020 Mimesis Journal. Scritture della performance. Rivista semestrale di studi Dipartimento di Studi Umanistici, Università degli Studi di Torino direttore responsabile Antonio Attisani editore Accademia University Press, Torino ISBN 9791280136367 Mimesis Journal è consultabile e scaricabile gratuitamente in versione digitale all’indirizzo www.aAccademia.it/mimesis9-2 e sulla piattaforma https://journals.openedition.org/mimesis/ per abbonamenti e acquisti di singole copie: [email protected] ccademia aA university press INDICE MJ, 9, 2 (dicembre 2020) Editoriale Se tutti i teatri chiudessero 5 Alessandro Pontremoli Saggi «A quale dito di Stockhausen sei appeso?». Musica intuitiva e libera improvvisazione ai Corsi estivi di Darmstadt 1969-1970 7 Pietro Cavallotti Aspettando Godot e la cosmogonia teatrale di Carlo Quartucci 25 Maria Grazia Berlangieri Per una traditio dell’opera di Franco Scaldati. Totò e Vicé, Assassina e Ombre folli secondo Randisi-Vetrano 45 Domenico Giuseppe Lipani ‘Un mare di parole’ tra Assoli e Udunda Indina Il plurilinguismo “malato” di Leo e Perla nella fase di rientro capitolino 63 Matteo Tamborrino Contro l’egemonia di genere Il voguing come danza di resistenza. 91 Andrea Zardi Uova fatali (parte I) Il sistema scenico-drammatico neosovietico russo negli anni della formazione (1924-1928) 111 Massimo Lenzi Punti di vista Esplorare la commedia romantica shakespeariana al Silvano Toti Globe Theatre di Roma Conversazione con Loredana Scaramella (parte prima) 129 Maddalena Pennacchia e Fabrizio Deriu MJ, 9, 2 (2020) 3 Indice Il tango patrimonio culturale immateriale Intervista a Pablo Moyano e Roberta Beccarini 145 Elisa Anzellotti Letture e visioni Inconscio mimetico e “attori signori” Sul progetto di ricerca HOM: Homo Mimeticus 153 Fabrizio Deriu Abstracts 163 Gli autori 167 Ricevuti e in lettura 171 Mimesis Journal Books 173 4 MJ, 9, 2 (2020) Se tutti i teatri chiudessero Alessandro Pontremoli L’arte non è che il modo in cui l’anonimo che chiamiamo artista, mantenendosi costan- temente in relazione con una pratica, cerca di costruire la sua vita come una forma di vita: la vita del pittore, del falegname, dell’architetto, del contrabbassista, in cui, come in ogni forma-di-vita, è in questione nulla di meno che la sua felicità. Giorgio Agamben1 Quando ero studente di Storia del teatro all’Università Cattolica del Sacro Cuore di Milano, molti anni fa, colpì fortemente la mia immaginazione una delle provo- cazioni che il mio maestro Sisto Dalla Palma era solito lanciare a lezione. Suonava più o meno così: «Immagiate se tutti i teatri chiudessero. Ecco: il teatro continue- rebbe ad esistere?». Incredibile, in quegli anni, sarebbe stato anche solo ipotizzare lo scenario che il Professore proponeva come qualcosa di assurdo, paradossale, distopico. Ebbene, oggi tutti i teatri hanno chiuso: esisterà ancora il teatro? Per quello che ho imparato proprio da Sisto Dalla Palma, in tanti anni di frequen- tazione e discepolato, a questa angosciante domanda rispondo: possono chiudere i teatri, possono morire gli spettacoli, possono «crepare gli artisti», ma il teatro non solo esiste, ma continuerà ad essere quella potente esperienza dell’umano, fintanto che almeno due persone saranno l’una di fronte all’altra. Per capire cosa succederà al teatro da oggi in avanti non credo sia richiesto un ripensamento dello statuto della corporeità, perché dal punto di vista fenomeno- logico esso rimane antropologicamente una costante: nel teatro la persona è una invariante fondativa. Lo statuto del corpo, con la sua ambiguità costitutiva, che si muove chiasmati- camente fra soggetto/oggetto, natura/cultura, io/mondo, dovrà essere piuttosto il punto di partenza per ritrovare lo stato di necessità originario che ha generato, nelle varie comunità del mondo, le più disparate epifanie di ciò che il teatro è: una messa in forma della esperienza e della relazione. Ed è quest’ultima a dover essere ripensata e a cui dare una nuova forma, rigene- rando quella dialettica dello sguardo cui abbiamo rinunciato nella costituzione del sé, frapponendo fra noi e l’altro ogni sorta di schermo e mediazione. 1 Giorgio Agamben, Creazione e anarchia. L’opera nell’età della religione capitalista, Neri Pozza, Vicenza 2017, p. 28. MJ, 9, 2 (2020) 5 Se tutti i teatri chiudessero La distanza imposta dall’attuale pandemia sarà sempre, nel teatro, inferiore a quella di ogni altro strumento di comunicazione, una distanza che lo sguardo impone per collocare l’altro in un orizzonte e in una profondità, e non schiacciarlo nella vicinanza assolutizzante della pornografia. Tre strade intravedo nel futuro e tutte mi vengono indicate dalla sapienza dei maestri. La prima ci è indicata da uno dei padri della storiografia teatrale, Mario Apollonio2, secondo il quale il teatro è quel movimento che si genera all’interno del ternario drammaturgico: come accade in montagna quando una nube bassa ti preclude la vista del sentiero, è il coro a individuare in un altro i suoi occhi, quelli di chi, nella distanza massima permessa dallo sguardo, è in grado di andare sempre in avanscoperta alla ricerca del cammino. Una seconda via è quella dell’alleanza dei corpi, di cui parla Judith Butler3 in un suo recente saggio: quella speranza performativa che nel rispetto della distanza, che è anzitutto una necessità di orizzonte prima che una profilassi strategica, deve tornare a ripopolare lo spazio pubblico delle nostre città, come manifestazione di una rinnovata necessità festiva e di nuova tattica di resistenza politica, che riven- dica voce e presenza per tutti «coloro che sono considerati “inammissibili” nella sfera dell’apparizione»4. In terzo luogo, è indispensabile tornare a pensare con serietà e caparbietà ad uno dei fondamenti della civiltà e della convivenza fra gli uomini, vale a dire alla relazione e restituirle tutte le peculiarità e l’efficacia derivanti dalla sua matrice teatrale e ludica: solo così si può immaginare di risvegliare il desiderio, tanto assopito quanto ridotto a coazione a possedere e consumare, che dal dopoguerra ad oggi ha progressivamente svuotato i teatri non meno che le chiese. Solo il desiderio muove a compiere quell’azione che nel teatro è un agire trasformativo, del coro e del singolo, un agire che non è solo di chi sale sul palcoscenico di un teatro, ma è soprattutto una responsabilità altrettanto forte per chi si pone di fronte, per chi agisce solo guardando, ma contribuisce al cambiamento di sé e del mondo con la dialettica del suo sguardo riconoscente nel momento dell’altrui riconoscenza. In questo modo, come suggerisce Jacques Rancière, gli «atti estetici» del teatro saranno, «come configurazioni dell’esperienza, capaci di far sorgere nuovi modi di sentire e di indurre nuove forme di soggettività politica»5. 2 Mario Apollonio, Studi sul ternario drammaturgico. I. Storia dottrina prassi del coro, Morcelliana, Brescia 1956. 3 Judith Butler, L’alleanza dei corpi. Note per una teoria performativa dell’azione collettiva, trad. it. di F. Zappino, nottetempo, Milano 2017. 4 Ivi, p. 83. 5 Jacques Rancière, La partizione del sensibile. Estetica e politica, trad. it. di F. Caliri, DeriveApprodi, Roma 2016, p. 7. 6 MJ, 9, 2 (2020) «A quale dito di Stockhausen sei appeso?» Musica intuitiva e libera improvvisazione ai Corsi estivi di Darmstadt 1969-1970. Pietro Cavallotti
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