UNDERGRADUATE STUDIES Study Program Applied Arts
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L'amico Fritz
opera Stagione teatrale 2015-2016 TEATRO DANTE ALIGHIERI Pietro Mascagni L’amico Fritz Fondazione Ravenna Manifestazioni Comune di Ravenna Ministero dei Beni e delle Attività Culturali e del Turismo Regione Emilia Romagna Teatro di Tradizione Dante Alighieri Stagione d’Opera e Danza 2015-2016 L’amico Fritz commedia lirica in tre atti di P. Suardon musica di Pietro Mascagni Teatro Alighieri 9, 10 gennaio con il contributo di partner Sommario La locandina ................................................................ pag. 5 Il libretto ....................................................................... pag. 6 Il soggetto .................................................................... pag. 23 L’amico Fritz, seconda opera di Mascagni di Fulvio Venturi ........................................................ pag. 25 Guida all’ascolto di Sara Dieci ................................................................ pag. 31 I protagonisti ............................................................. pag. 33 Coordinamento editoriale Cristina Ghirardini GraficaUfficio Edizioni Fondazione Ravenna Manifestazioni Si ringrazia il Teatro Municipale di Piacenza per aver concesso il materiale editoriale. Foto © Gianni Cravedi L’editore si rende disponibile per gli eventuali aventi diritto sul materiale utilizzato. Stampa Edizioni Moderna, Ravenna L’amico Fritz commedia lirica in tre atti dal romanzo omonimo di Erckmann-Chatrian musica di Pietro Mascagni libretto di P. Suardon (Nicola Daspuro) Casa Musicale Sonzogno personaggi e interpreti Suzel -
André Breton Och Surrealismens Grundprinciper (1977)
Franklin Rosemont André Breton och surrealismens grundprinciper (1977) Översättning Bruno Jacobs (1985) Innehåll Översättarens förord................................................................................................................... 1 Inledande anmärkning................................................................................................................ 2 1.................................................................................................................................................. 3 2.................................................................................................................................................. 8 3................................................................................................................................................ 12 4................................................................................................................................................ 15 5................................................................................................................................................ 21 6................................................................................................................................................ 26 7................................................................................................................................................ 30 8............................................................................................................................................... -
Du Cinéma and the Changing Question of Cinephilia and the Avant-Garde (1928-1930)
Jennifer Wild, “‘Are You Afraid of the Cinema?’” AmeriQuests (2015) ‘Are you Afraid of the Cinema?’: Du Cinéma and the Changing Question of Cinephilia and the Avant-Garde (1928-1930) In December 1928, the prolific “editor of the Surrealists,” La Librairie José Corti, launched the deluxe, illustrated journal Du Cinéma: Revue de Critique et de Recherches Cinématographiques.1 Its first issue, indeed its very first page, opened with a questionnaire that asked, “Are you afraid of the cinema?” (Fig. 1, 2) The following paragraphs describing the questionnaire’s logic and critical aims were not penned by the journal’s founding editor in chief, Jean- George Auriol (son of George Auriol, the illustrator, typographer, and managing editor of the fin-de-siècle journal Le Chat Noir); rather, they were composed by André Delons, poet, critic, and member of the Parisian avant-garde group Le Grand Jeu. “This simple question is, by design, of a frankness and a weight made to unsettle you. I warn you that it has a double sense and that the only thing that occupies us is to know which you will choose,” he wrote.2 1. Cover, Du Cinéma, No. 1. Pictured: a still from Etudes Sur Paris (André Sauvage, 1928) 2. Questionnaire, “Are You Afraid of the Cinema?” Du Cinéma, No. 1. 1 Unless otherwise noted, all translations are my own. 2 André Delons, “Avez-Vous Peur du Cinéma?” Du Cinéma: Revue de Critique et de Recherches Cinématographiques, 1st Series, no.1, (December 1928), reprint edition, ed. Odette et Alain Virmaux (Paris: Pierre Lherminier Editeur, 1979), 3. -
CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale Di Venezia La Biennale Di Venezia President Presents Roberto Cicutto
LE MUSE INQUIETE WHEN LA BIENNALE DI VENEZIA MEETS HISTORY CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale di Venezia La Biennale di Venezia President presents Roberto Cicutto Board The Disquieted Muses. Luigi Brugnaro Vicepresidente When La Biennale di Venezia Meets History Claudia Ferrazzi Luca Zaia Auditors’ Committee Jair Lorenco Presidente Stefania Bortoletti Anna Maria Como in collaboration with Director General Istituto Luce-Cinecittà e Rai Teche Andrea Del Mercato and with AAMOD-Fondazione Archivio Audiovisivo del Movimento Operaio e Democratico Archivio Centrale dello Stato Archivio Ugo Mulas Bianconero Archivio Cameraphoto Epoche Fondazione Modena Arti Visive Galleria Nazionale d’Arte Moderna e Contemporanea IVESER Istituto Veneziano per la Storia della Resistenza e della Società Contemporanea LIMA Amsterdam Peggy Guggenheim Collection Tate Modern THE DISQUIETED MUSES… The title of the exhibition The Disquieted Muses. When La Biennale di Venezia Meets History does not just convey the content that visitors to the Central Pavilion in the Giardini della Biennale will encounter, but also a vision. Disquiet serves as a driving force behind research, which requires dialogue to verify its theories and needs history to absorb knowledge. This is what La Biennale does and will continue to do as it seeks to reinforce a methodology that creates even stronger bonds between its own disciplines. There are six Muses at the Biennale: Art, Architecture, Cinema, Theatre, Music and Dance, given a voice through the great events that fill Venice and the world every year. There are the places that serve as venues for all of La Biennale’s activities: the Giardini, the Arsenale, the Palazzo del Cinema and other cinemas on the Lido, the theatres, the city of Venice itself. -
Georges Henein : ´Ecriturespol´Emiques Pascale Roux
Georges Henein : ´ecriturespol´emiques Pascale Roux To cite this version: Pascale Roux. Georges Henein : ´ecriturespol´emiques.Litt´eratures.Universit´ede la Sorbonne nouvelle - Paris III, 2009. Fran¸cais. <NNT : 2009PA030160>. <tel-01334731> HAL Id: tel-01334731 https://tel.archives-ouvertes.fr/tel-01334731 Submitted on 22 Jun 2016 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destin´eeau d´ep^otet `ala diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publi´esou non, lished or not. The documents may come from ´emanant des ´etablissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou ´etrangers,des laboratoires abroad, or from public or private research centers. publics ou priv´es. 1 Université Sorbonne nouvelle – Paris 3 Ecole doctorale 120 – Littérature française et comparée Thèse de doctorat Langue, littérature et civilisation françaises Pascale ROUX Georges Henein : écritures polémiques Thèse dirigée par M. le Professeur Dominique COMBE Soutenue le 4 décembre 2009 Jury : Mme Mireille CALLE-GRUBER, Professeure à l’Université Paris III M. Daniel LANÇON, Professeur à l’Université Grenoble III M. Michel MURAT, Professeur à l’Université Paris IV M. Pierre VILAR, Maître de Conférences à l’Université Paris VII 2 3 Mes rem erciements vont à Monsieur Dom inique Com be, directeur de cette thèse, pour son soutien et ses conseils, et à tous ceux qui, tout près de moi ou un peu plus loin, m’ont permis de mener à bien ce travail. Note sur les références bibliographiques Œuvres de Georges Henein : nous renvoyons à l’édition des Œuvres (Paris : Denoël, 2006) au moyen de l’abréviation Œ. -
Quartino.Rai.Pdf
Per informazioni: Servizio Infotel Scala +39.02.72.003.744 (attivo tutti i giorni dalle 9 alle 18) www.teatroallascala.org Grandi opere sul grande schermo Cinque spettacoli storici in proiezione gratuita alla Scala 18 giugno – 22 ottobre 2017 Main Media Partner o n a s i m A - a i c s e r B o t o F Grandi opere sul grande schermo Domenica 10 settembre 2017, ore 11 i l l e Dal 18 giugno al 22 ottobre la Rai e il Teatro alla Scala celebrano 40 anni Europa riconosciuta L o t di Antonio Salieri o di collaborazione proiettando in sala i video di cinque grandi spettacoli diretti F da Carlos Kleiber, Claudio Abbado, Riccardo Muti, Daniel Barenboim e Riccardo Chailly. Direttore Riccardo Muti Regia Luca Ronconi Il 7 dicembre 1976 le telecamere della Rai facevano entrare per la prima volta gli italiani L’opera con cui il Teatro alla Scala fu inaugurato nel 1778 è stata scelta da Riccardo Muti per celebrare alla Prima della Scala trasmettendo l’ Otello di Verdi con la direzione di Carlos Kleiber. anche il ritorno all’attività dopo il restauro nel dicembre Da allora la Rai e il Teatro alla Scala hanno collaborato per far conoscere sempre meglio 2004. Per l’occasione erano tornati a collaborare Luca agli italiani lo straordinario patrimonio del melodramma. Ronconi e Pier Luigi Pizzi, mentre in scena si sfidavano In occasione del 40° anniversario di questa prima, folgorante diretta in mondovisione le voci di Diana Damrau e Desirée Rancatore. la Prima è tornata su Rai1 e la Madama Butterfly inaugurale della Stagione 2016/2017 Ritiro biglietti gratuiti da lunedì 4 settembre diretta dal Maestro Riccardo Chailly ha battuto tutti i record di ascolti per l’opera lirica sulla televisione italiana. -
Aragon: a Translation
ARAGON: A TRANSLATION Verna Griswold Looney, M. A. Morehead State University, 1979 Director of Thesis=---~---'_ 1.,.9~-·-f,_1&,-;~...,.#?...------ Louis Aragon, a modern French poet, many of whose poems were published clandestinely by the French underground during World War II, became a national hero to the people of France, He was a founder of the Surrealist movement and was deeply involved with Cubism and Dadaism. During the early 1930's, however, Aragon broke with these movements when he joined the Communist party. Partly because of his ideology, Aragon has not established a literary reputation in the United States. More importantly, however, is the lack of English translations of his works of poetry. Most of his novels have been translated into English, but the I present author has found to date only one volume of I l poetry which was translated by e. e. cummings, The Red Front, whose original title is Front Rouge, published l in 1933 by Contempo Publishers. j This thesis , Aragon: A Translation, is an English translation of Aragon by Ge orges Sadoul , consisting of t hree sections. The first one is a crit ical and biographical treatise on Aragon written by Ge orges Sadoul. It treats the early life of Louis Aragon and Elsa , his wife , beginning with Sadoul ' s initial meeting of Aragon i n the 1920' s and continuing through Aragon ' s love affai r with the U. S . S . R. in the 19JO ' s and his involvement with the underground forces duri ng World War II in his native France . The second part of the thesis is a choice of t exts written by Aragon and selected by Sadoul . -
Aragon, Elsa Et
Ce fichier numérique correspond au livre Aragon, Elsa Triolet et les cultures étrangères, Presses Universitaires Franc-Comtoises, Coll. « Annales littéraires », 2000, 225 p. Il figure ici dans une version pré-print avec un contenu identique à la version publiée. En raison d’un décalage dans la pagination, il convient de se référer à cette dernière pour toute citation. Collection Annales Littéraires Aragon, Elsa Triolet et les cultures étrangères Actes du Colloque de Glasgow, avril 1992 Sous la direction de Andrew Macanulty Presses Universitaire Franc-Comtoises Aragon, Elsa Triolet et les cultures étrangères Collection Annales Littéraires, 682 Linguistique et Sémiotiques vol. 34 30 rue Mégevand – 25030 Besançon Cedex © Collection Annales Littéraires 2000 Diffusé par les Belles Lettres 95 bd Raspail– 75006 Paris ISBN 2.913322.04.2 ISSN 0768-4479 Collection Annales Littéraires Aragon, Elsa Triolet et les cultures étrangères Actes du Colloque de Glasgow, avril 1992 Sous la direction de Andrew Macanulty Publication coordonnée par le Grelis (Groupe de recherches en linguistique, informatique et sémiotiques), Université de Franche-Comté Les œuvres d'Aragon et d'Elsa Triolet sont intimement liées à plusieurs cultures étrangères. Les romans de la jeune femme russe devenue l'écrivain français Elsa Triolet puisent aux sources des grands classiques russes, Gorki au Maïakoski et, au moment de la seconde guerre mondiale, sont influencées par des émissions de la BBC. Aragon, obsédé par l'Espagne et son romancero à partir de 1936 fut un traducteur qui théorisa le rapport traduction/écriture. La réception de son œuvre dans l'Angleterre de la seconde guerre mondiale ou dans le Japon de l'Après-guerre connut des péripéties dues à l'hostilité de surréalistes exilés ou à son engagement politique. -
Photography in Post-War Surrealist Journals
Northumbria Research Link Citation: Donkin, Hazel (2010) Surrealism, photography and the periodical press: an investigation into the use of photography in surrealist publications (1924 - 1969) with specific reference to themes of sexuality and their interaction with commercial photographic images of the period. Doctoral thesis, Northumbria University. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/2584/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html Surrealism, Photography and the periodical Press: An investigation into the use of photography in surrealist publications (1924 — 1969) with specific reference to themes of sexuality and their interaction with commercial photographic images of the period -
Mise En Page 1
GALATEAU PASTAUD COLLECTION HENRY TROUVÉ et à divers EXPERT CLAUDE OTERELO LUNDI 29 FÉVRIER 2016 SALLE VV ROSSINI - PARIS GALATEAU PASTAUD Maison de ventes aux enchères LUNDI 29 FÉVRIER 2016 À 14H15 SALLE VV 3 rue Rossini - 75009 Paris (métro Richelieu-Drouot) COLLECTION HENRY TROUVÉ et à divers EDITIONS ORIGINALES LIVRES ILLUSTRÉS - REVUES LETTRES AUTOGRAPHES - MANUSCRITS PHOTOGRAPHIES DESSINS ET TABLEAUX DU XXE SIÈCLE CLAUDE OTERELO Expert Membre de la Chambre Nationale des Experts Spécialisés 5, rue La Boétie - 75008 Paris Tél. : 06 84 36 35 39 [email protected] Expositions publiques : Salle VV - 3 rue Rossini 75009 Paris Samedi 27 février de 11h à 18h Dimanche 28 février de 11h à 18h Lundi 29 février de 11h à 12h Téléphone pendant l’exposition 01 42 46 78 44 GALATEAU PASTAUD Agrément n°2002–322 du 11.07.2002 20 Boulevard Edgar Quinet - 75014 Paris 5 rue Cruche d’Or - 87000 Limoges Tél : 06 23 404 406 – 06 50 614 608 Email : [email protected] - www.interencheres.com 2 1 1 ADAMOV Ern. LUMBROSO Fernand. SERNET Claude. MISES AU POINT. MANUSCRITS AUTOGRAPHES SIGNÉS ET EPREUVES CORRIGÉES. Circa 1928. 2 500 / 3 000 € Adamov Ern. MANUSCRIT AUTOGRAPHE SIGNÉ. 9 pages grand in-4 à l’encre avec ratures et corrections. Lumbroso Fernand. MANUSCRIT AUTOGRAPHE SIGNÉ. 8 pages grand in-4 à l’encre. Sernet Claude. MANUSCRIT AUTOGRAPHE SIGNÉ. 8 pages grand in-4 à l’encre avec quelques ratures. Il est joint le texte de la préface de la main de Claude Sernet. (déchirure dans les marges à cette page). L’ensemble est follioté et porte des annotations en vue de l’impression. -
Florida State University Libraries
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Going Postal: Surrealism and the Discourses of Mail Art Elizabeth B. (Elizabeth Barnhart) Heuer Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ART, THEATRE AND DANCE GOING POSTAL: SURREALISM AND THE DISCOURSES OF MAIL ART By ELIZABETH B. HEUER A Dissertation submitted to the Department of Art History in partial fulfillment of the Requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2008 Copyright © 2008 Elizabeth B. Heuer All Rights Reserved The members of the Committee approve the Dissertation of Elizabeth B. Heuer defended on September 26, 2008. __________________________ Karen A. Bearor Professor Directing Dissertation __________________________ Neil Jumonville Outside Committee Member __________________________ Adam Jolles Committee Member __________________________ Roald Nasgaard Committee Member Approved: ______________________________________________________ Richard K. Emmerson, Chair, Department of Art History ______________________________________________________ Sally E. McRorie, Dean, College of Visual Arts, Theatre and Dance The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENTS I wish to extend my sincerest thanks to all of the faculty and staff of the Department of Art History at Florida State University. I am very thankful for the generous financial support I received during the years of my course work and in the research and writing of this dissertation. I am especially indebted to Karen A. Bearor, the chair of my dissertation committee, for her guidance, patient advice, and encouragement throughout my graduate work. Special thanks to Neil Jumonville whose teaching has enriched my approach to the discipline of art history. -
A Travelling Tale: Shakespeare on the Italian Stage Considers the Transposition from Page to Stage of Some of Shakespeare’S Plays in Italy
Maria Coduri A Travelling Tale: Shakespeare on the Italian Stage Thesis submitted for the Degree of MPhil January 2013 Departments of Italian and English School of European Languages, Culture and Society University College London University of London 1 DECLARATION I, Maria Coduri, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 ABSTRACT This thesis considers the transposition from page to stage of some of Shakespeare’s plays in Italy. In particular it concentrates on different approaches to Shakespeare’s texts and different ways to transform them into theatrical action. The first chapter has an introductory function, and lays the groundwork for subsequent discussion. It illustrates the encounter between the work of the English playwright and the Italian people through an overall view of the reception of Shakespeare in Italy from the first mention of his name in 1667 to Francesco De Sanctis’s critical writings in the mid- nineteenth century. The following chapters discuss how Shakespeare’s plays have been adapted for the stage by some prominent Italian actors and directors. The focus is on three periods of the history of Italian theatre. The Great Actors of the mid-nineteenth century offered stagings of Shakespeare’s plays that focused on the main character, thus depriving them of anything that did not enhance the role of the lead actor. The generation of the directors, that flourished in Italy in the mid-twentieth century, advocated a philological reading of the playtexts, after they had been so severely altered by the generation of the actors.