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Università Di Bologna DOTTORATO DI RICERCA IN Alma Mater Studiorum – Università di Bologna DOTTORATO DI RICERCA IN STUDI TEATRALI E CINEMATOGRAFICI Ciclo XXV Settore Concorsuale di afferenza: 10/C1 Settore Scientifico disciplinare: L-ART/05 TITOLO TESI Il teatro di Sarah Kane fra biografia, performance e scrittura Presentata da: Giovanni Octavio Covelli Meek Coordinatore Dottorato Relatore Guglielmo Pescatore Gerardo Guccini Esame finale anno 2014 INDICE Introduzione 1 CAPITOLO I PANORAMA DEL TEATRO BRITANNICO (1945 - 1960) 1. Il secondo dopoguerra 5 2. Beckett, Osborne e Brecht, momenti di trasformazione 8 3. I primi arrabbiati 9 4. Teatro Politico e Teatro della Crudeltà. Gli anni sessanta 11 5. Compagnie 5.1 Il Theatre Workshop 12 5.2 English Stage Company/Royal Court Theatre 18 6. Drammaturghi 6.1 John Osborne 21 6.2 Arnold Wesker 24 6.3 John Arden 28 6.4 Edward Bond 33 7. Situazione economica del teatro inglese – Arts Council 36 CAPITOLO II UNA NORMALITÀ PERICOLOSA. INDAGINE BIOGRAFICA PER DOCUMENTI E IMMAGINI 1. Infanzia 39 2. Presenza della stampa nella famiglia Kane 40 3. Dio, Amore: percorsi verso la redenzione 45 4. Scuola o teatro? 49 5. “Dentro le mura di cinta del campus universitario”. Anni di formazione 50 6. Il teatro della catastrofe. Origini della nuova generazione teatrale inglese 52 7. Bristol 1989, focolaio d’innovatori teatrali 54 8. Barker, un punto di riferimento 60 9. Al di fuori dell’università di Bristol. Le prime regie universitarie di Sarah Kane 65 10. L’incipit della drammaturgia. I primi monologhi 70 11. Regia del Macbeth 74 12. Seconda visita al Fringe Festival di Edimburgo 77 13. Birmingham. Il lungo processo di Blasted 82 14. Londra, il Royal Court Theatre e lo scandalo di Blasted 92 15. Analisi iconografica di Blasted. Sarah Kane dramaturg? 105 16. Skin: Una proposta cinematografica 118 17. Il ritorno ai classici, Phaedra’s Love 121 18. Il cielo è così grigio. Verrebbe voglia di piantarci un chiodo e impiccarsi. La regia del Woyzeck 126 19. Cleansed: morire d’amore 130 20. Crave, un monologo a più voci 135 21. 4.48 Psychosis, scriverla mi ha ucciso 140 CAPITOLO III INTORNO AL TEATRO DI SARAH KANE OGGI 1. Sarah Kane Festival 149 2. Piacenza, focus Kane 154 3. Variazioni sul mito 155 4. Sarah Kane nello studio dello psicologo 158 5. Sarah Kane alla radio 160 6. La drammaturgia musicale di Sarah Kane 161 Appendice iconografica 163 Bibliografia 195 INTRODUZIONE Il presente studio rivisita il profilo drammaturgico e teatrale di Sarah Kane, enfant terrible dello spettacolo britannico degli anni Novanta. Drammaturga nota al livello internazionale per via della testualità dirompente e l’uso di un immaginario saturo di quotidianità e violenza. Per comprendere l’opera di Sarah Kane è fondamentale inquadrare la sua figura nel contesto del teatro inglese contemporaneo: realtà culturale tradizionalmente fondata sulla figura dell’autore e della drammaturgia scritta. Già a partire dagli anni Cinquanta, una prima generazione di giovani arrabbiati aveva rinnovato la scena immettendo tra le tematiche degli spettacoli contenuti più vicini alla sensibilità giovanile e alle problematiche del movimento operaio. A questa prima leva di ribelli, altre ne erano seguite fino a includere la generazione della Kane (David Greig, Mark Ravenhill, Vincent O’Connell). Il presente studio confronta il vissuto dell’autrice con il suo corpus drammatico, analizzando le relazioni tra diversi raggruppamenti di dati e realtà: l'ambiente famigliare, i temi e i personaggi delle opere, l'attività attoriale e registica della Kane durante il periodo universitario, i suoi testi e autori teatrali di riferimento, presenze che, conosciute negli anni giovanili, riemergeranno all'interno dei drammi. Questa prospettiva d'indagine ha consentito di acquisire conoscenze originali sul conflittuale rapporto fra Sarah Kane e il giornalismo e, allargando lo sguardo alle dinamiche formative dei drammaturghi anglosassoni, sulla fondamentale influenza esercitata dai campus universitari e dalla loro cultura teatrale. Pare ora opportuno anticipare, per maggiore chiarezza espositiva, entrambi gli argomenti. Da un lato, Sarah Kane si confronta fin dalla prima infanzia con la pratica del giornalismo (professione che svolgevano entrambi i suoi genitori), venendone durevolmente influenzata come risulta dai suoi testi drammatici e dal suo pensiero. Dall’altro, proprio la critica giornalistica, dopo aver misconosciuto le opere della drammaturga, ha reagito all'impatto mediatico della sua morte, generando “il caso Kane”. Per quanto riguarda l'azione dei campus universitari sul teatro anglosassone e, in particolare, su quello della Kane, va osservato che gli spettacoli recitati e messi in 1 scena dalla drammaturga nelle università di Bristol e di Birmingham sono stati molto più d'un primo avvicinamento alla pratica scenica. La drammaturgia della Kane, infatti, non solo sviluppa possibilità e germi tematici incontrati nel corso di questi approcci, ma si compie all'interno di reti relazionali e sistemi d'allestimento conformati e/o consentiti dalla struttura dell’università britannica, dove, accanto alle attività didattiche e di apprendimento teorico, si sviluppa una densa vita sociale, che trova nelle attività pratiche e negli apprendimenti artistico/teatrali fondamentali fulcri di aggregazione. Se anche la drammaturga sì è sempre rapportata in modo problematico e teso al livello della didattica, il campus universitario le ha comunque offerto spazi decisivo di formazione. Proprio durante gli studi universitari, Sarah Kane compone i suoi primi testi – What She Said, Comic Monologue, Starved –, recita in Victory e si cimenta con la regia, dirigendo la messa in scena di Macbeth. Nel contesto di questo percorso biografico, la figura drammaturgica della Kane non si definisce a partire da una scelta professionale, ma dall'immersione in un contesto formativo che, pur interno al campus, si contrappone agli insegnamenti teorici, integrando recitazione, regia e critica. Quella affrontata degli studenti inglesi, è una teatralità completa che porge con naturalezza le sue complesse gamme espressive agli impulsi e all'acre individualità della prima giovinezza. Per poter analizzare le competenze di Sarah Kane in quanto attrice, regista e dramaturg, si è qui fatto riferimento a documenti iconografici prevalentemente inediti e frutto d'una ricerca di prima mano. Questi, confrontati alle didascalie esplicite ed implicite dei testi drammatici, e integrati da varie fonti (recensioni e testimonianze dirette), hanno consentito di valutare gli spessori puramente performativi in cui si è sviluppato il teatro della nostra drammaturga. Lo studio che segue si articola in tre sezioni. La prima ripercorre le svolte della drammaturgia inglese del secondo dopoguerra, affrontando Beckett, la prima generazione dei giovani arrabbiati (Osborne, Arnold Wesker, John Arden, Edward Bond), la diffusione di un teatro di matrice politica e di una diversa teatralità di origine artaudiana, la situazione economica del teatro inglese dopo la creazione dell’Arts Council. Particolare attenzione è dedicata alle evoluzioni di una giovane compagnia universitaria (il Theatre Workshop) e dell’English Stage Company (che diventerà Royal Court Theatre). La seconda sezione, invece, indaga la biografia della Kane ricorrendo a documenti e a immagini in parte inedite, che recuperano e intessono alla vicende culturali della 2 drammaturga i preziosi filamenti dei primi spettacoli giovanili. In questa sezione si sono ricostruiti sia i rapporti con il giornalismo che gli ambienti teatrali dei campus universitari di Bristol e di Birmingham, che hanno influenzato in modo determinante il panorama della drammaturgia anglosassone. In conformità all'impianto della tesi, si è scelto di non trattare le drammaturgie della Kane in quanto forme estetiche indipendenti, ma esaminarle nel quadro dei sistemi relazioni e delle pratiche rappresentative. Così, il primo allestimento di Blasted, cui è dedicato un paragrafo specifico, si risolve nell'analisi dei rapporti fra la Kane, il regista e l'ensemble. La terza parte esamina la presenza attuale delle Kane al livello delle pratiche sceniche e delle elaborazioni culturali. Per sostanziare quest'oggetto di indagine si sono passati in rassegna gli spettacoli rappresentati all'ultima edizione del festival dedicato alla Kane, ed anche numerose iniziative (anche di carattere scientifico) dedicate alle drammaturga. Da una parte, si è qui evidenziata l’importanza del teatro dei dilettanti per la diffusione dei suoi testi, dall’altra, si sono esaminati gli addentellati fra diversi orientamenti del pensiero contemporaneo e l'identità complessiva della Kane, ancor oggi presente in quanto psiche manifestata dal corrispondersi delle opere e dei gesti esistenziali. 3 4 CAPITOLO I PANORAMA DEL TEATRO BRITANNICO (1945 - 1960) 1. Il secondo dopoguerra Il secondo dopoguerra è stato un periodo di importanti trasformazioni per i teatri europei e d’impronta occidentale: appaiono nuove strutture (come il Berliner Ensemble di Bertolt Brecht, il Théâtre National Populaire di Jean Vilar e il Piccolo Teatro di Milano), si producono movimenti artistici (tali sono la Pop Art inglese, la Performance americana e l’arte informale europea) e d’opinione (come il Gruppo Forma 11 in Italia, il Gruppo 472 in Germania, e il gruppo Dau al Set3 in Catalogna), vengono profondamente rinnovati sia i linguaggi della scena che le tecniche del mestiere teatrale. Tuttavia, il teatro inglese appare impermeabile alle tensioni del periodo. Almeno fino alla metà degli anni Cinquanta
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