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Teatro-32..Teatro-32.1 .. Page1 Volume pubblicato con il contributo: Universit degli Studi Roma Tre Universit dell Aquila nuova TEATRO e STORIA serie 3-2011 [a. XXV vol. 32] Teatro e Storia nuova serie Rivista annuale Direttore responsabile: Mirella Schino. Redazione: Eugenio Barba, Eugenia Casini Ropa, Clelia Falletti, Stefano Geraci, Raimondo Guarino, Franco Ruffini, Nicola Savarese, Ferdinando Taviani. Sono stati tra i soci fondatori di «Teatro e Storia» Fabrizio Cruciani (1941-1992) e Claudio Meldolesi (1942-2009). Segretaria di redazione: Carla Arduini. Per informazioni sul sistema peer review usato dalla redazione, sulle norme per le collaborazioni esterne nonché su quelle editoriali, su Indici e summaries dei numeri precedenti, sulla storia della rivista si veda il sito: www.teatroestoria.it. In copertina: Claudio Morganti, Tabella delle macroscopiche differenze tra spettacolo e teatro, «Lo Straniero», n. 126-127, dicembre 2010-gennaio 2011. Autorizzazione del Tribunale di Roma n. 57/2010 del 24/02/2010 Registro della Stampa, Cancelleria del Tribunale Civile di Roma Stampa: Iriprint - Città di Castello (PG) TUTTI I DIRITTI RISERVATI E` vietata la traduzione, la memorizzazione elettronica, la riproduzione totale o parziale, con qualsiasi mezzo, compresa la fotocopia, anche a uso interno o didattico. L’illecito sar`a penalmente perseguibile a norma dell’art. 171 della Legge n. 633 del 22/04/1941 ISSN 0394-6932 © 2012 by Bulzoni Editore – 00185 Roma, via dei Liburni, 14 http://www.bulzoni.it – e-mail: [email protected] TEATRO e STORIA XXV/2011 Incomprensibilità e speranza 7 Introduzione all’Annale 2011 23 Luca Vonella, Da un teatro che chiude. Lettera 52 39 Eugenio Barba, Incomprensibilità e speranza 45 Raimondo Guarino, Il leggibile e il visibile. Su un’edizione di «Mirame» di Desmarets 55 Franco Ruffini, Il «teatro di Séraphin» di Antonin Artaud. (La bella fatica del racconto) 81 Carla Arduini, Doriana Legge, Fabrizio Pompei, Milano, 1974-1980: storia di Santa Marta, Centro Sociale 137 Pierangelo Pompa, Dal Teatro Grande di Tianjin. Lettera 53 151 Claudio Meldolesi, Scritti rari: Brecht, teatro di gruppo, teatralità 169 Mirella Schino, Storia di una parola. Fascismo e mutamenti di mentalità teatrale 213 Sandra Pietrini, Raccontare il dramma: Guérin interpreta la «Fedra» di Racine 249 José Luis Gómez, Apuntes sobre vida y trabajo. Esbozo de un trayecto. Doctor Honoris Causa Universidad Compluten- se de Madrid. Con una nota di Eugenio Barba «Teatro e Storia» nuova serie 3-2011 [a. XXV vol. 32] 261 Vicki Ann Cremona, From Louis XIV’s Paris to the Schwarzenbergs’ Cesk´ˇ y Krumlov: «Le Théˆatre Italien», Ita- lian actors and images of the Commedia dell’Arte 297 Pierangelo Pompa, Il libro di Li Ruru sull’Opera di Pechi- no. Con una nota di Nicola Savarese 317 Francesca Martellini, Anna Halprin: oltre la danza 345 Ferdinando Taviani, Come un bagliore. Lettera 54 365 Summaries 375 Sommario di «Culture Teatrali» INTRODUZIONE ALL’ANNALE 2011 Incomprensibilità e speranza Ringraziamo «Lo Straniero», che ci permette di usare la riflessione di Claudio Morganti sulle differenze tra spettacolarità e spettacolo tea- trale per la copertina di questo numero. La pagina di Morganti viene dal n. 126-127 de «Lo Straniero», dicembre 2010-gennaio 2011. Con questo Annale, la rivista «Teatro e Storia» ha superato i ven- ticinque anni. La riflessione di un uomo di teatro sull’essenza dello spettacolo teatrale ci è sembrata una buona forma di celebrazione. Non c’è un filo o un argomento specifico a tenere insieme il nu- mero, ma qualcosa d’altro, più flebile, ma forse più tenace: un odore. Imparenta tra loro gran parte degli interventi. Per trovargli un nome, abbiamo rubato il titolo all’intervento di Eugenio Barba: Incompren- sibilità e speranza. Barba ha utilizzato questi due poli per definire i sapori di base del lavoro dell’Odin. Ma funzionano anche per pensa- re al rapporto tra teatro e società. Sono due punti di riferimento per- fino per accostarci al rapporto speculare a questo: quello che ha una società con il suo teatro – con il teatro del suo tempo. E con quello che vorrebbe avere. In tanti anni di vita del teatro, sono stati usati molti altri nomi per definire sia la sua particolare propensione alla speranza che il suo rifiuto di comprendere: è stato chiamato impulso alla rivolta. Oppure teatro politico. Si è parlato di voluta marginalità contro im- posta emarginazione. Si è coniata la definizione «fuga dal centro». Molti anni fa, Fabrizio Cruciani ha trovato un’altra formula ancora, efficacissima e contorta: «[I]l teatro del futuro – ha scritto – non si pone come il futuro del teatro, postula invece una società del futu- ro» 1. Il teatro, quando è pensato al futuro, postula una speranza, in 1 Fabrizio Cruciani, Prefazione ad Asja Lacis, Professione: rivoluzionaria, con un saggio di Eugenia Casini Ropa, traduzione di Eugenia Casini Ropa, Milano, Fel- trinelli, 1976, p. 7. «Teatro e Storia» nuova serie 3-2011 [a. XXV vol. 32] 8 INTRODUZIONE ALL’ANNALE 2011 nome della volontà di rifiutarsi di comprendere – nel senso di accet- tare – lo stato di fatto. Ma c’è un’altra «incomprensibilità» propria al teatro – e anche questa ha un valore politico. Ce ne ha dato un indizio importante Roland Barthes, in uno dei più belli tra i suoi articoli dedicati al tea- tro, quello in cui parla dei motivi del fallimento (ai suoi occhi) del Riccardo II di un attore da lui molto amato, Gérard Philipe. «La for- za del teatro volgare – scrive Barthes nel ’54 – sta nella pigrizia del suo pubblico: [...] adagiato nell’ozio di un momento, trasformato in uno sguardo da nutrire, egli [lo spettatore] sa bene che può ottenere il dominio assoluto solo se la scena diviene il luogo di una schiavitù manifesta: gli occorre dunque, davanti a sé, dello zelo [...] La regia, dal canto suo, si impegna a moltiplicare l’agitazione dei personaggi, come se l’attore, muovendosi molto, e percorrendo inutilmente la scena in tutte le direzioni [...] in mancanza di un compito utile svol- gesse almeno un lavoro supplementare piacevole per i sensi dello spettatore-dio». Poi Barthes aggiunge: «Neanche l’attore sfugge alla dura legge del lavoro nello spettacolo piccolo-borghese: da lui si esige un ruolo già masticato, in cui ogni intenzione sia così chiara e distinta da poter essere assimilata senza fatica né confusione. [... F]acciamo attenzione ad allontanare dalla parte ogni ambiguità della natura, che arrischie- rebbe di arrecare turbamento [...] ogni parola si sovraccarica di una chiarezza imperdonabile». Succede qualche volta che una definizione abbia la forza di una rivelazione, che ci permetta di mettere all’improvviso ordine in quel- le che erano percezioni confuse. Così accade di fronte a questa intui- zione di Barthes: la chiarezza come prerogativa di un teatro piccolo- borghese, in cui gli spettatori, in stato di ozio, si fanno nutrire di in- tenzioni chiare e distinte, e i teatranti si affannano in nome della comprensibilità, rifuggendo il turbamento. La chiarezza è il peccato imperdonabile del teatro. Come Barthes aggiunge a proposito della voce dell’attore nella tragedia: «Sostituire al canto la chiarezza è la funzione costitutiva dell’attore piccolo-borghese» 2. Molti degli interventi riuniti in questo numero riguardano l’in- comprensibilità e la speranza: la lettera scritta da Luca Vonella, atto- 2 Cfr. il bellissimo volume curato da Marco Consolini: Roland Barthes, Sul tea- tro, Roma, Meltemi, 2002. La recensione da cui ho tratto questi brani è Fine di «Ric- cardo II», ed è alle pp. 81-85. INTRODUZIONE ALL’ANNALE 2011 9 re, per parlare del lavoro del suo teatro subito prima che si scioglies- se. Per parlare della sua volontà di continuare. Incomprensibilità e speranza sono altresì alla base della lettera di Ferdinando Taviani sul «bagliore»; del lungo saggio su un Centro Sociale milanese degli anni Settanta, «Santa Marta»; di quello sui rapporti tra fascismo e regia; dei tre scritti di Meldolesi. E, naturalmente, dell’intervento di Barba, che dà il titolo all’intero numero. Ma in questo volume 32 ci sono an- che molti altri problemi, immagini e persone: Artaud e Brecht, l’ico- nografia della Commedia dell’Arte e quella di Racine, Guérin e Da- vid, Desmarets e le prospettive del dramma stampato, Anna Halprin, il teatro di gruppo, la teatralità, la lectio magistralis del grande attore spagnolo José Luis Gómez. A partire dal volume 32, le «lettere» a «Teatro e Storia» saranno segnalate da un numero progressivo. E` un modo per differenziarle ulteriormente dai saggi. Dentro «Teatro e Storia», le lettere sono come una corrente di acqua dolce in un bacino d’acqua salata: sono un’anomalia, e allo stesso tempo caratterizzano il sapore della rivista. Negli ultimi anni si sono moltiplicate. Quella di Luca Vonella, che apre il numero, è la cinquantaduesima. La prima lettera è stata pubblicata nel vol. 9: è la Lettera su una scienza dei teatri di Ferdinando Taviani. «Il Cinema – ha spiegato Guido Ceronetti, nel suo ultimo libro – è vissuto nel tempo e il suo arco è compreso in una settantina d’anni del XX [secolo]. Il prima e il dopo sono stato fetale e lento disfaci- mento [...]. Il Teatro, invece, è senza tempo e i suoi messaggi vengo- no recapitati da millenni e non avranno tramonto» 3. Un’affermazio- ne un po’ sentenziosa. Subito dopo averla fatta, Ceronetti accantona il millenario teatro e si concentra sul cinema... Non importa. Questo riconoscimento della persistenza del teatro è lo stesso una constatazione consolante. Oppure ovvia. Tra le notizie del 2011, oltre ai libri e a qualche avvenimento si- gnificativo per l’ambiente di «Teatro e Storia», ci sono alcune segna- lazioni di siti internet. Occuperanno sempre più spazio. La prima notizia riguarda il nostro, il nuovo sito di «Teatro e Storia». 3 Guido Ceronetti, Ti saluto mio secolo crudele. Mistero e sopravvivenza del XX secolo, Torino, Einaudi, 2011, p.
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