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Drammaturgie Per Una Nuova Frontiera Del Teatro Urbano

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Drammaturgie Per Una Nuova Frontiera Del Teatro Urbano s Arti dello Spettacoloa / Performing Arts Arti dello Spettacolo / Performing Arts &EJUPS Donatella Gavrilovich 6OJWFSTJUZPG3PNFA5PS7FSHBUB Associate Editors Stefania Frezzoti Donato Santeramo National Gallery of Modern Art (GNAM), Rome Queen!s University, Kingston (CANADA) Fabrizio Grifasi Ol’ga Kupcova Fondazione Romaeuropa, Rome State Institute of Art Studies (SIAS), Mosca (RUSSIA) Vladislav Ivanov State Institute of Art Studies (SIAS), Mosca (RUSSIA) Consulting Editor Lucie Kempf Marie-Christine Autant-Mathieu Université de Lorraine (FRNCE ) EUR!ORBEM, CNRS, Paris-Sorbonne (FRNCE) Claudia Pieralli Delphine Pinasa University of Florence Centre National du Costume de Scène et de la Scénographie (CNCS) Gabriel Poole (FRNCE) University of Cassino and Southern Lazio Dmitrij Rodionov Daria Rybakova A. A. Bakhrushin State Central Teatre Museum (RUSSIA) St. Petersburg State University of Culture and Arts (RUSSIA) Elena Servito Advisory Board INDA (National Institute of Ancient Drama) Foundation of Syracuse Gabriella Elina Imposti Margaret Shewring University of Bologna University of Warwick (ENGLAND) Andrei Malaev-Babel Artem Smolin Florida State University/Asolo Conservatory for Actor Training (USA) St. Petersburg State University of Information Technologies, Mechanica Lorenzo Mango and Optics (RUSSIA) University of Naples ‘L!Orientale! Leila Zammar Mariateresa Pizza Loyola University of Chicago JFRC Archive ‘Dario Fo-Franca Rame! Fabio Massimo Zanzoto Roger Salas University of Rome ‘Tor Vergata! ‘El Pais!, Madrid (SPAIN) Riku Roihankorpi Editorial Assistants University of Tampere (FINLAND) Annamaria Corea, University of Rome ‘La Sapienza! Anna Isaeva, Université Paris 3 Sorbonne Nouvelle (FRNCE ) Editorial Board Irina Marchesini, University of Bologna Leoneta Bentivoglio Alice Pieroni, University of Florence ‘La Repubblica!, Rome Marianna Zannoni, University of Venice Michaela Böhmig University of Naples ‘L’Orientale’ Manuela Canali Staf National Academy of Dance, Rome Giulia Cara, University of Rome ‘Tor Vergata#, Gioia Cecchi, Uni- Silvia Carandini versity of Rome ‘La Sapienza#, Marco Damigella, University of Roma University of Rome ‘La Sapienza! Tre, Davide Di Bella, University of Florence, Alessandro Maria Egit- Marieta Chikhladze to, University of Rome ‘Tor Vergata#, Valeria Gaveglia, University of Tbilisi State University (GEORGIA) Rome ‘Tor Vergata#, Silvia Loreti, University of Rome ‘Tor Verga- Enrica Dal Zio ta#, Manuel Onorati, University of Rome ‘Tor Vergata#, Valeria Para- ‘Michael Chekhov Association MICHA!, New York (USA) ninf, University of Rome ‘Tor Vergata#, Ilaria Recchi, University of Dominique Dolmieu Rome ‘Tor Vergata#, Andrea Vanacore, University of Roma Tre Maison d!Europe et d!Orient - Eurodram (FRNCE ) . Erica Faccioli Academy of Fine Arts of Carrara TFKPVSOBMFWBMVBUFTTVCNJTTJPOTUISPVHIBEPVCMFCMJOESFGFSFFTZTUFN s Arti dello Spettacoloa / Performing Arts Art dello Spetacolo / Performing Arts New Frontiers: Live Performances, Archives and Digital technology edited by Donatella Gavrilovich - Leila Zammar Editorial by Donatella Gavrilovich and Leila Zammar 4 Abstract 10 Performing Arts, gli archivi digitali e la narrazione interativa 1BUSPDJOJP Maria Grazia Berlangieri 16 6OJWFSTJUËEFHMJ4UVEJ Performing Arts Archives. Dal Database al Knowledge base: stato dell’arte e nuove frontiere di ricerca EJ3PNBi5PS7FSHBUBw Donatella Gavrilovich 28 Rimediare lo spazio becketiano: Warten auf Godot per Alexander Arotin Grazia D’Arienzo 40 . Hamlet’s Norwegian Doll’s House: Reframing Embodied Knowledge with Virtual Architectonics of Performance Riku Roihankorpi and Mathew Delbridge 49 Tecnologie della luce ‘site specifc’: drammaturgie per una nuova frontiera del teatro urbano 1SPHFUUPHSBGJDP Vitorio Fiore 59 (JPJB$FDDIJ Registrazione dello spetacolo dal vivo: tra documentazione e artefato flmico. Il caso dell’Oedipus Rex di Julie Traymor 4FHSFUFSJBFVGGJDJPTUBNQB Cecilia Carponi 70 TUBfBTQB!HNBJMDPN Ricostruire lo spetacolo atraverso i documenti d’archivio 5JQPHSBfB Leila Zammar 80 6OJWFSTJUBMJB Immaginare i suoni. Ricostruzione del paesaggio sonoro della festa barocca 7JBEJ1BTTP-PNCBSEP Samuele Briatore 91 3PNB Experiences "35*%&--041&55"$0-0 Teatre Afer Social Networks 1&3'03.*/("354 Saeed Kazemian 101 "OOP***]/VNFSP] Interplay of Sound and Image as a Means of Conveying the ‘Subtly-Physical’ Dimension of a Living Teatrical Performance "UUSJCVUJPO*OUFSOBUJPOBM Andrei Malaev-Babel 105 %JSFUUPSF3FTQPOTBCJMF Классическая трагедия в современности:искусство быть серьезным %POBUFMMB(BWSJMPWJDI Dmitry Trubochkin 110 &EJUPSF To be or not to be Roger Bernat: Fanny & Alexander 6/*7&34*5"-*" Roberta Nicolai e Lorenzo Cascelli 123 7JBEJ1BTTPMPNCBSEP Vecchio Fango – An Introduction to the Teater of the Senses 3PNB Gabriele Poole 132 5FM 1*$' Об опыте внедрения информационной системы в Театральном музее им. “А.А. Бахрушина” FNBJMFEJUPSJB!VOJWFSTJUBMJBTSMJU Dmitry Rodionov 146 XXXVOJQBTTJU Istituto Nazionale del Dramma Antico (INDA): storia, atività e patrimonio archivistico. Elena Servito 152 *44/ 3FHJTUSB[JPOFUSJCVOBMF Focus HFOOBJPDPOO A New Virtual Museum Dedicated to the Actress Vera Komissarzhevskaya. An International Project Donatella Gavrilovich and Artem Smolin 157 $PWFSJNBHFTBSFGSPNBSUJDMFT JOUIJTJTTVF Proposta di un codice univoco per la rintracciabilità dei beni dello spetacolo: il Codice ASPA Manuel Onorati 165 *44/ 4 l terzo numero della rivista Arti dello Spetaco- Te third issue of the journal Arti dello Spetaco- lo/Performing Arts, dedicato a Nuove fontiere: lo/Performing Arts, dedicated to New Frontiers: spetacolo dal vivo, archivi e tecnologie digitali, Live Performances, Archives and Digital technology, Iraccoglie i contributi di studiosi, diretori di mu- collects the contributions of scholars, museum seo, responsabili di archivio, diretori di teatro e directors, archivists, theatre directors and actors. atori, presentati al letore suddivisi secondo il di- Tese contributions, divided according to the ap- verso approccio utilizzato dagli autori. Per questo proach chosen by the authors, have been grouped motivo le curatrici hanno deciso di raggruppare by the two editors of this issue into three sec- gli articoli in tre sezioni: la prima è costituita da tions: the frst contains critical-historical essays; saggi storico-critici e flologici, la seconda con- the second reports refections related to personal tiene testimonianze e rifessioni intorno a espe- experiences lived by the authors; the third con- rienze direte e l#ultima propone due contributi, sists of two contributions, which form the Focus che costituiscono il Focus della rivista. Il flo con- of the issue. Te fl rouge, which unfolds through- dutore che si dipana atraverso tuti gli articoli out the articles, concerns the employment of riguarda l#impiego delle nuove tecnologie in di- the most updated technologies to various felds, versi campi come, ad esempio, la ricostruzione including the digital reconstruction of perfor- digitale degli spetacoli, l#uso della registrazione mances, the use of audio-video recordings and audio-video, la creazione di archivi digitalizzati the creation of online digital archives. Great rele- online. Grande rilevanza è quindi riservata alle vance is therefore given by the authors to the new proposte e ai risultati di studio e di sviluppo del- technological proposals and to the development la ricerca internazionale in questo ambito senza of the international research in this feld without mai trascurare la centralità dello spetatore e/o forgeting the importance of the spectator and/or utente, verso il quale è costantemente focalizzata user, who is always in the mind of whoever stages l#atenzione di chi crea uno spetacolo, di chi stu- a spectacle, studies new methods of using digital dia metodi innovativi di fruizione digitale degli tools for archive researches, or reconstructs a his- archivi e di chi ricostruisce una performance sto- torical performance. A constant element, found rica. Una costante, rilevata in tuti gli articoli, è lo in all the articles, is the glance to the ‘past’ seen sguardo verso il ‘passato#, interpretato variamente either as a source of inspiration, culture and tra- come fonte d#ispirazione, di cultura e tradizione dition to preserve, or as a starting point to face *44/ 5 Editorial by Donatella Gavrilovich and Leila Zammar da conservare, ma anche come punto di partenza new challenges. In some authors there is the con- per afrontare nuove sfde. In alcuni autori è viva sciousness that, notwithstanding the use of the more la consapevolezza di non aver ancora rivoluziona- advanced technologies, the twentieth-century theat- to l#eredità teatrale del Novecento e che, sebbene rical heritage has not been substantially changed: the oggi si utilizzino tute le più avanzate tecnologie, presence of the theoretical and practical teachings by si faccia ancora ampio uso degli insegnamenti te- Stanislavskij, Mejerchol’d, Grotowski, Artaud, Appia, orici e pratici di Stanislavskij, Mejerchol#d, Gro- Craig, Kandinskij etc., is indeed evident in most con- towski, Artaud, Appia, Craig, Kandinskij ecc. temporary performances. La prima sezione si apre con il contribu- Te frst section of the issue opens with an arti- to di Maria Grazia Berlangieri, la quale spiega cle by Maria Grazia Berlangieri, who explains the l#importanza delle metodologie digitali nella importance of digital technology in creating archives creazione di archivi, dedicati alle arti dello spet- dedicated to the performing arts. She proposes new tacolo e propone
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