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Editorial *44/ 2 *44/ s 1 Arti dello Spettacoloa / Performing Arts Editorial *44/ 2 Arti dello Spettacolo / Performing Arts &EJUPS Donatella Gavrilovich 6OJWFSTJUZPG3PNFA5PS7FSHBUB Associate Editors Erica Faccioli Donato Santeramo Academy of Fine Arts of Carrara Queen!s University, Kingston (CANADA) Stefania Frezzoti Ol’ga Kupcova National Gallery of Modern Art (GNAM), Rome State Institute of Art Studies (SIAS), Mosca (RUSSIA) Fabrizio Grifasi Fondazione Romaeuropa, Rome Consulting Editor Vladislav Ivanov Marie-Christine Autant-Mathieu State Institute of Art Studies (SIAS), Mosca (RUSSIA) EUR!ORBEM, CNRS, Paris-Sorbonne (FRNCE) Lucie Kempf Delphine Pinasa Université de Lorraine (FRNCE ) Centre National du Costume de Scène et de la Scénographie (CNCS) Claudia Pieralli (FRNCE) University of Florence Dmitrij Rodionov Gabriel Poole A. A. Bakhrushin State Central Teatre Museum (RUSSIA) University of Cassino and Southern Lazio Daria Rybakova Advisory Board St. Petersburg State University of Culture and Arts (RUSSIA) Maria Ida Biggi Elena Servito University of Venice ‘Ca! Foscari! - Giorgio Cini Foundation of Venice 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 Maria Teresa Pizza Loyola University Chicago in Rome Archive ‘Dario Fo-Franca Rame! Fabio Massimo Zanzoto Roger Salas University of Rome ‘Tor Vergata! Donatella Gavrilovich Donatella ‘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 ) . TFKPVSOBMFWBMVBUFTTVCNJTTJPOTUISPVHIBEPVCMFCMJOESFGFSFFTZTUFN *44/ sa 3 Art dello Spetacolo / Performing Arts Vera Komissarzhevskaya meets Eleonora Duse Te “Joan of Arc” of the Russian scene and the “Divina” of Italian theatre edited by Donatella Gavrilovich - Gabriella Elina Imposti &EJUPSJBMCZ .BSJB*EB#JHHJ%POBUFMMB(BWSJMPWJDI 1BUSPDJOJP 6OJWFSTJUËEFHMJ4UVEJ "CTUSBDUT EJ3PNBi5PS7FSHBUBw *OUSPEV[JPOF&MFPOPSB%VTFF7FSB,PNJTTBSäFWTLBKBVONPTBJDPEJUFTTFSFQPMJDSPNF %POBUFMMB(BWSJMPWJDI(BCSJFMMB&MJOB*NQPTUJ ώүҺҪϖҸҶҲһһҪҺҰүҬһҴҪӉoiҺҽһһҴҪӉϐҽұүwҺҸҰҮүҷҲүҼүҪҼҺҪҵӆҷҸҳҺүҹҽҼҪӀҲҲ ϚҵӆҭҪϖҽҹӀҸҬҪ 7FSB,PNJTTBSKFWTLBÕB MBiQFUJUF%VTFw -VDJF,FNQG %FVYBDUSJDFTEFUBMFOUFUMFVSTBENJSBUFVSTEBOTMFTCPVMFWFSTFNFOUTEFMBNPEFSOJUÏ 1SPHFUUPHSBGJDP .BSJF$ISJTUJOF"VUBOU.BUIJFV (JPJB$FDDIJ Editorial ϏҸҵҸһҹҺҲҶҪҮҸҷҷӅώүҺҪϖҸҶҲһһҪҺҰүҬһҴҪӉҲҧҵүҸҷҸҺҪϐҽұүҬҺҽһһҴҲҿҽӂҪҿ 4FHSFUFSJBFVGGJDJPTUBNQB 0LTBOB#VMHBLPXB TUBfBTQB!HNBJMDPN "UUSJDJJOQPTBMFGPUPHSBGJFEJ MFPOPSB%VTFF7FSB,PNJTTBSäFWTLBKB .BSJBOOB;BOOPOJ 5JQPHSBfB 6OJWFSTJUBMJB Te infVFODFPG,PNJTTBS[IFWTLBZBBOE%VTFPOUIFDSFBUJWFNFUIPETPGUIFUIDFOUVSZ 7JBEJ1BTTP-PNCBSEP NBTUFSTPGUIF3VTTJBOUIFBUSF "OESFJ.BMBFW#BCFM 3PNB 3VTTJBO$SJUJDT0O&MFPOPSB%VTF "35*%&--041&55"$0-0 %BSJB3ZCBLPWB 1&3'03.*/("354 &MFPOPSB%VTFP*TBEPSB%VODBO *MEJCBUUJUPOFMMBDSJUJDBSVTTBEFM "OOP**]/VNFSP] .JDIBFMB#ÚINJH 4QFDJBM*TTVF (PSEPO$SBJHFMBUUPSF(MJTDSJUUJTV&MFPOPSB%VTF "UUSJCVUJPO*OUFSOBUJPOBM %POBUP4BOUFSBNP %JSFUUPSF3FTQPOTBCJMF ϘϙϑҺҶҸҵҸҬҪҲώҞϖҸҶҲһһҪҺҰүҬһҴҪӉoҮҬүϒҪҷҷӅϐόҺҴҺҽһһҴҸҭҸҼүҪҼҺҪ %POBUFMMB(BWSJMPWJDI ϜҪҲһҪϚһҼҺҸҬһҴҪӉ &EJUPSF -B,PNJTTBSäFWTLBKBFJMTJNCPMJTNPSVTTP 6/*7&34*5"-*" $FTBSF(%F.JDIFMJT 7JBEJ1BTTPMPNCBSEP ϙҸҺҪ ϏүҮҮҪ ϏҲҵӆҮҪҲҲҿҶҪҼӆώүҺҪώүҺҪϖҸҶҲһһҪҺҰүҬһҴҪӉҬҮҺҪҶҪҿϏүҷҺҲҴҪϔҫһүҷҪ 3PNB ҧҶҲҵҲӉϐүҶүҷӀҸҬҪ 5FM 1*$' 4VNNBSJ[JOHSFNBSLTPO,PNJTTBS[IFWTLBZBBOEUIF3VTTJBO"WBOU(BSEF FNBJMFEJUPSJB!VOJWFSTJUBMJBTSMJU %FOOJT*PfF XXXVOJQBTTJU (MJPDDIJEFMMB,PNJTTBSäFWTLBZBUBMFOUP NBHJB NJUP .BSJP$BSBNJUUJ *NNBHJOFJODPQFSUJOB Vera Komissarzhevskaya FEleo- #FBSFSTPG-JHIt: TF4FBSDIGPSUIF4BDSFEJO7FSB,PNJTTBS[IFWTLBZBBOE8BTTJMZ,BOEJOTLZ %POBUFMMB(BWSJMPWJDI nora Duse DB 7FSB,PNJTTBSäFWTLBKBFMBWPDB[JPOFUFBUSBMFEFMSFHJTUB(FPSHFT1JUPëf *44/ .BSJB1JB1BHBOJ 3FHJTUSB[JPOFUSJCVOBMF ϖҸҶҲһһҪҺҰүҬһҴҪӉһҹҸһҸҫӅҼҺҪҷһҾҸҺҶҪӀҲҲҸҫҺҪұҪ HFOOBJPDPOO όҷҷҪϝүҺҭүүҬҪϖҵӉҼҲһ ҞҸҼҸҭҺҪҾҲҲώҞϖҸҶҲһһҪҺҰүҬһҴҸҳҴҪҴһҪҶҸҹҺүұүҷҼҪӀҲӉҪҴҼҺҲһӅ ҨҵҲӉϜӅҫҪҴҸҬҪ *44/ 4 Il primo Special issue della rivista Arti del- Te frst Special issue of the journal Arti dello Spet- lo Spettacolo - Performing Arts è dedicato tacolo. Performing Arts is dedicated to two great a due grandi attrici, attive a cavallo tra il actresses, active at the end of the nineteenth and XIX e il XX secolo: Eleonora Duse e Vera the beginning of the twentieth centuries, Eleonora Komissarževskaja. Duse and Vera Komissarzhevskaya. Esse s#incontrarono personalmente solo una volta Tey met in person only once in St. Petersburg a San Pietroburgo nel dicembre 1896. Eleonora in December 1896. Eleonora Duse was on tour Duse era in tournée nella Venezia del Nord e Vera in “the Venice of the North” and Vera Komis- Komissarževskaja la vide recitare al Teatro Alek- sarzhevskaya saw her acting at the Alexandrinsky Donatella Gavrilovich Donatella sandrinskij in La dame aux camélias di A. Dumas e Teatre in La Dame aux Camélias by Alexandre in Heimat (La patria) di H. Sudermann. Dumas and in Heimat by Hermann Sudermann. Dopo il terzo ato di La patria andai nel camerino dal- Afer the third act of Heimat I went to Duse’s changing la Duse…Non ci conoscevamo… Entrai e rimasi in si- room. We did not know each other... I went in and re- lenzio, io sentivo che se avessi deto una parola allora… mained silent, I felt that if I said a word thenvDuse re- Duse anche rimase in silenzio, poi si avvicinò a me e mi mained silent as well, then she came close to me and took prese la testa tra le mani…e mi guardò a lungo negli oc- my head between her hands, then she looked into my chi. Non ci dicemmo l#una l#altra nemmeno una parola1. eyes for some time. We did not say a word to each other1. In occasione del centocinquantesimo anniversa- On the occasion of the 150th anniversary of the rio della nascita di Vera Komissarževskaja (1864 birth of Vera Komissarzhevskaya (1864-1910), - 1910) Maria Ida Biggi, Università Ca# Foscari di Maria Ida Biggi of the Ca’ Foscari University of Venezia, diretrice del Centro Studi per la Ricerca Venice, Director of the Study Centre for Doc- Documentale sul Teatro e il Melodramma Euro- umentary Research into European Teatre and peo della Fondazione Giorgio Cini di Venezia, in Opera of the Giorgio Cini Foundation in Ven- collaborazione con Donatella Gavrilovich, Uni- ice, in collaboration with Donatella Gavrilovich versità degli Studi di Roma “Tor Vergata”, ha or- of the University of Rome “Tor Vergata”, organ- ganizzato un convegno internazionale di studi, che ized the frst international conference devoted to per la prima volta nel mondo mete a confronto le a comparison of the two actresses: Vera Komis- *44/ 5 Editorial by Maria Ida Biggi - Donatella Gavrilovich due atrici: Vera Komissarževskaja incontra Eleono- sarzhevskaya meets Eleonora Duse. Te “Joan of Arc” ra Duse. La “Giovanna d!Arco” della scena russa e la of the Russian stage and “La Divina” of Italian theatre Editorial Divina del teatro italiano (4 - 5 marzo 2015). (4-5 March 2015). Denominata la “Giovanna d#Arco” della scena russa, la Nicknamed the “Joan of Arc” of the Russian stage, Komissarževskaja è stata paragonata alla Divina dalla Komissarzhevskaya was compared to “La Divina” by critica dell’epoca passando alla storia come la “piccola the critics of the time and was also called “the litle Duse”. Per questo motivo le giornate di studi hanno Duse”. For this reason the conference was focused puntato l#atenzione sull#atività delle due atrici, pa- on the activity of the two actresses. It compared ragonando il loro stile recitativo, confrontando il loro their acting styles, their relationship with other per- rapporto con altre interpreti della scena mondiale, con formers of the world stage and with great directors i grandi registi e gli artisti dell#epoca e analizzando l#in- and artists of the time and analyzed their infuence fuenza da loro esercitata sulle generazioni successive. on the following generations. La Fondazione Giorgio Cini ha aperto le porte del Te Giorgio Cini Foundation opened the doors of suo splendido complesso monumentale, sito sull#I- its splendid monumental complex, situated on the sola di San Giorgio Maggiore a Venezia, per acco- Isle of San Giorgio Maggiore in Venice, to welcome gliere studiosi provenienti da tuto il mondo, met- scholars from all over
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