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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. -
Bacchylides 17: Singing and Usurping the Paean Maria Pavlou
Bacchylides 17: Singing and Usurping the Paean Maria Pavlou ACCHYLIDES 17, a Cean commission performed on Delos, has been the subject of extensive study and is Bmuch admired for its narrative artistry, elegance, and excellence. The ode was classified as a dithyramb by the Alex- andrians, but the Du-Stil address to Apollo in the closing lines renders this classification problematic and has rather baffled scholars. The solution to the thorny issue of the ode’s generic taxonomy is not yet conclusive, and the dilemma paean/ dithyramb is still alive.1 In fact, scholars now are more inclined to place the poem somewhere in the middle, on the premise that in antiquity the boundaries between dithyramb and paean were not so clear-cut as we tend to believe.2 Even though I am 1 Paean: R. Merkelbach, “Der Theseus des Bakchylides,” ZPE 12 (1973) 56–62; L. Käppel, Paian: Studien zur Geschichte einer Gattung (Berlin 1992) 156– 158, 184–189; H. Maehler, Die Lieder des Bakchylides II (Leiden 1997) 167– 168, and Bacchylides. A Selection (Cambridge 2004) 172–173; I. Rutherford, Pindar’s Paeans (Oxford 2001) 35–36, 73. Dithyramb: D. Gerber, “The Gifts of Aphrodite (Bacchylides 17.10),” Phoenix 19 (1965) 212–213; G. Pieper, “The Conflict of Character in Bacchylides 17,” TAPA 103 (1972) 393–404. D. Schmidt, “Bacchylides 17: Paean or Dithyramb?” Hermes 118 (1990) 18– 31, at 28–29, proposes that Ode 17 was actually an hyporcheme. 2 B. Zimmermann, Dithyrambos: Geschichte einer Gattung (Hypomnemata 98 [1992]) 91–93, argues that Ode 17 was a dithyramb for Apollo; see also C. -
Antigone by Sophocles Scene 4, Ode 4, Scene 5, Paean and Exodos
Antigone by Sophocles Scene 4, Ode 4, Scene 5, Paean and Exodos By: Anmol Singh, Kesia Santos, and Yuri Seo Biographical, Cultural, and Historical Background The Greek Theater - Sophocles was one of the prominent figures in Greek theater. - Plays were performed in outdoor areas. - There were a limited number of actors and a chorus.6 - Antigone was mostly likely performed in the same fashion. AS Family Tree YS What do Scene 4, Ode 4, Scene 5, Paean and Exodos of Antigone focus on? - Family Conflict (internal and external) - Death (tragedy) - Poor judgment - Feeling and thinking - Fate - Loyalty - Love YS Genres & Subgenres Tragedy - Not completely like modern tragedies (ex. sad & gloomy). - Tragedies heavily used pathos (Greek for suffering). - Used masks and other props. - Were a form of worship to Dionysus.7 AS Tragic Hero - Antigone and Creon are both like tragic heros. - Each have their own hamartia which leads to their downfalls.8,9 AS Family Conflict & Tragedy in Antigone - Antigone hangs herself - Haimon stabs himself - Eurydice curses Creon and blames him for everything - Eurydice kills herself YS Dominant Themes Family: The story of Niobe - Antigone relates her story to the story of Niobe. - Antigone says “How often have I hear the story of Niobe, Tantalus’s wretched daughter…” (18) - Chorus tells Antigone that Niobe “was born of heaven,” but Antigone is a woman. YS Womanhood - Antigone defies the place a woman is supposed to have during this time period - Antigone and Ismene contrast each other - Creon is the prime example of the beliefs that males hold during this period KS Power and Corruption: Dryas and Lycurgus - A character the chorus compares to Antigone is Lycurgus. -
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. -
Myth, Ritual, and the Labyrinth of King Minos
Armstrong Undergraduate Journal of History Volume 5 Issue 1 Article 1 4-2015 Myth, Ritual, and the Labyrinth of King Minos Nicole Tessmer St. Louis University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/aujh Part of the History Commons Recommended Citation Tessmer, Nicole (2015) "Myth, Ritual, and the Labyrinth of King Minos," Armstrong Undergraduate Journal of History: Vol. 5 : Iss. 1 , Article 1. DOI: 10.20429/aujh.2015.050101 Available at: https://digitalcommons.georgiasouthern.edu/aujh/vol5/iss1/1 This article is brought to you for free and open access by the Journals at Digital Commons@Georgia Southern. It has been accepted for inclusion in Armstrong Undergraduate Journal of History by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. Tessmer: Myth, Ritual, and the Labyrinth of King Minos Myth, Ritual, and the Labyrinth of King Minos Nicole Tessmer St. Louis University According to ancient mythology, King Minos built a perplexing labyrinth to house the Minotaur, a monstrous creature to which his wife had given birth. Each year, the myth states, seven girls and seven boys were chosen to enter the labyrinth as tributes to become food for the Minotaur.1 It was not until Theseus entered the labyrinth, and killed the Minotaur that it could be considered a place to leave your childhood behind. Once inside, they wrestled with their demons, experienced a rebirth, and finally, emerged as adults ready to take their places in society. The myth of the labyrinth can thus be understood as a rite of passage or a coming of age ritual in ancient Greece. -
Salmacis, Hermaphrodite, and the Inversion of Gender: Allegorical Interpretations and Pictorial Representations of an Ovidian Myth, Ca
Chapter 3 Salmacis, Hermaphrodite, and the Inversion of Gender: Allegorical Interpretations and Pictorial Representations of an Ovidian Myth, ca. 1300–1770 Karl Enenkel Introduction: The Ovidian Myth and Its Gender Narrative Although from antiquity on, the concept of the nymph has included a great variety of minor deities connected with different local cults and various habi- tats, all nymphs seem to have in common that they were imagined as young, beautiful, gracious girls, and that they were thought to behave in a female and feminine way; if attached to Diana, they were believed to act as virgins. The myth of Salmacis, however, refers to a different kind of nymph: a nymph that excels in the inversion of “normal” gendered behaviour, and that was thought to have caused the disturbing bodily phenomenon of Hermaphroditism.1 The myth as it was depicted and interpreted in the early modern period is entirely based on a literary invention by Ovid, in his Metamorphoses (IV, 288–388).2 Ovid’s highly imaginative story, however, does not give an account 1 On the physical and medical phenomenon of Hermaphroditism in Greco-Roman antiquity and in the Renaissance (which in itself will not be the topic of this contribution) cf., inter alia, Brisson L., Sexual Ambivalence: Androgyny and Hermaphroditism in Graeco-Roman Antiquity, transl. J. Lloyd (Berkeley, California U.P.: 2002; originally French, Paris: 1999); Long K.P., Hermaphrodites in Renaissance Europe (Aldershot: 2006); Duval Jacques, Des Hermaphrodits […] (Rouen, David Geuffroy: 1612). 2 Except for Ovid’s narrative in his Metamorphoses, there are no Greek or Latin sources from antiquity that provide other substantial versions of the myth. -
Greek Mythology #23: DIONYSUS by Joy Journeay
Western Regional Button Association is pleased to share our educational articles with the button collecting community. This article appeared in the August 2017 WRBA Territorial News. Enjoy! WRBA gladly offers our articles for reprint, as long as credit is given to WRBA as the source, and the author. Please join WRBA! Go to www.WRBA.us Greek Mythology #23: DIONYSUS by Joy Journeay God of: Grape Harvest, Winemaking, Wine, Ritual Madness, Religious Ecstasy, Fertility and Theatre Home: MOUNT OLYMPUS Symbols: Thyrus, grapevine, leopard skin Parents: Zeus and Semele Consorts: Adriane Siblings: Ares, Athena, Apollo, Artemis, Aphrodite, Hebe, Hermes, Heracles, Helen of Troy, Hephaestus, Perseus, Minos, the Muses, the Graces Roman Counterpart: Bacchus, Liber Dionysus’ mother was mortal Semele, daughter of a king of Thebes, and his father was Zeus, king of the gods. Dionysus was the only Olympian god to have a mortal parent. He was the god of fertility, wine and the arts. His nature reflected the duality of wine: he gave joy and divine ecstasy, or brutal and blinding rage. He and his followers could not be contained by bonds. One would imagine that being the god of “good times” could be a pretty easy and happy existence. Unfortunately, this just doesn’t happen in the world of Greek mythology. Dionysus is called “twice born.” His mother, Semele, was seduced by a Greek god, but Semele did not know which god was her lover. Fully aware of her husband’s infidelity, the jealous Hera went to Semele in disguise and convinced her to see her god lover in his true form. -
Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2018 Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation Edmonds, Radcliffe .,G III. 2019. "Underworld." In Oxford Classical Dictionary. New York/Oxford: Oxford University Press. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/classics_pubs/123 For more information, please contact [email protected]. Underworld Radcliffe G. Edmonds III In Oxford Classical Dictionary, in Oxford Research Encyclopedia of Classics. (Oxford University Press. April 2019). http://dx.doi.org/10.1093/acrefore/9780199381135.013.8062 Summary Depictions of the underworld, in ancient Greek and Roman textual and visual sources, differ significantly from source to source, but they all draw on a common pool of traditional mythic motifs. These motifs, such as the realm of Hades and its denizens, the rivers of the underworld, the paradise of the blessed dead, and the places of punishment for the wicked, are developed and transformed through all their uses throughout the ages, depending upon the aims of the author or artist depicting the underworld. Some sources explore the relation of the world of the living to that of the dead through descriptions of the location of the underworld and the difficulties of entering it. By contrast, discussions of the regions within the underworld and existence therein often relate to ideas of afterlife as a continuation of or compensation for life in the world above. -
Dionysus and Ariadne in the Light of Antiocheia and Zeugma Mosaics
Anatolia Antiqua Revue internationale d'archéologie anatolienne XXIII | 2015 Varia Dionysus and Ariadne in the light of Antiocheia and Zeugma Mosaics Şehnaz Eraslan Electronic version URL: http://journals.openedition.org/anatoliaantiqua/345 DOI: 10.4000/anatoliaantiqua.345 Publisher IFEA Printed version Date of publication: 1 June 2015 Number of pages: 55-61 ISBN: 9782362450600 ISSN: 1018-1946 Electronic reference Şehnaz Eraslan, « Dionysus and Ariadne in the light of Antiocheia and Zeugma Mosaics », Anatolia Antiqua [Online], XXIII | 2015, Online since 30 June 2018, connection on 18 December 2020. URL : http://journals.openedition.org/anatoliaantiqua/345 ; DOI : https://doi.org/10.4000/anatoliaantiqua. 345 Anatolia Antiqua TABLE DES MATIERES Hélène BOUILLON, On the anatolian origins of some Late Bronze egyptian vessel forms 1 Agneta FRECCERO, Marble trade in Antiquity. Looking at Labraunda 11 Şehnaz ERASLAN, Dionysus and Ariadne in the light of Antiocheia and Zeugma Mosaics 55 Ergün LAFLI et Gülseren KAN ŞAHİN, Middle Byzantine ceramics from Southwestern Paphlagonia 63 Mustafa AKASLAN, Doğan DEMİRCİ et Özgür PERÇİN en collaboration avec Guy LABARRE, L’église paléochrétienne de Bindeos (Pisidie) 151 Anaïs LAMESA, La chapelle des Donateurs à Soğanlı, nouvelle fondation de la famille des Sképidès 179 Martine ASSENAT et Antoine PEREZ, Localisation et chronologie des moulins hydrauliques d’Amida. A propos d’Ammien Marcellin, XVIII, 8, 11 199 Helke KAMMERER-GROTHAUS, »Ubi Troia fuit« Atzik-Köy - Eine Theorie von Heinrich Nikolaus Ulrichs (1843) -
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. -
ARISTOPHANES' FROGS 172 F. by CW DEARDEN the Problem
WHAT HAPPENED TO THE DONKEY? ARISTOPHANES' FROGS 172 f. BY C. W. DEARDEN The problem of the production of Charon's boat 1) is one of the perennial chestnuts of Aristophanic study, yet one that theore- tically it ought to be fairly easy to solve, for, as Arnott has remark- ed 2), the movements of the characters in the early scenes of the Frogs can be plotted with considerable accuracy and this limits in certain respects the possibilities open to the producer. Dionysus and Xanthias open the play as with donkey and baggage they appear on their way to visit Heracles and then the Underworld. The conclusion that they enter through a parodos and journey across the orchestra seems unavoidable for no starting point is indicated for their journey and the donkey would pose problems elsewhere. At line 35 therefore, when Xanthias dismounts, the two climb onto the stage and approach Heracles' door. A conversation with Heracles occupies the next 130 lines before the two travellers bid him adieu and turn back to the orchestra to continue their journey. Xanthias bidden once more to pick up the baggage, pro- duces his customary complaint, suggests that Dionysus might consider hiring a corpse to take the luggage to Hades (167) and points out that one is being carried in. There is no indication of where the corpse comes from and again it seems reasonable to assume that it is simply carried in through one parodos across the orchestra and out through the other; Dionysus and Xanthias them- 1) For the purposes of this article the conclusions of T.B.L. -
PP Autumn 2013.Indd
Leadership of Women in Crete and Macedonia as a Model for the Church Aída Besançon Spencer A superficial glance at the New Testament in translation, com- teaching positions versus unofficial teaching, nor does it seem bined with an expectation of a subordinate role for women, re- to be an issue of subject matter. sults in generalizations that Paul commands women not to teach These sorts of modern categories are not apt for describing or have authority (1 Tim 2:11–15), except in the case of older wom- a church that met in a home in which the family and family- en teaching younger women how to be housewives (Titus 2:3–5), of-faith structures and the public and the private spheres and women are not to teach in official, public, formal positions in overlapped in the home-worship events. Paul does not the church, but they can teach in informal, private, one-on-one complain that the false teachers are not appointed teachers; situations in the home.1 rather, he complains that they are offering false teaching. It is However, a deeper search into the New Testament reveals a important, then, not to misread the social context in which dissonance with those interpretations. In 1 Timothy 2:12, Paul early Christian teaching transpired on Crete and elsewhere.5 writes, “I do not permit a woman to teach,” but, in Titus 2:3, Paul expects the “older women” to teach. Paul uses the same root word Many egalitarians have argued that 1 Timothy 2:11–15 needs to for men as for women teaching, didaskō.