La rovina come pretesto最新文献

{"title":"Archivi","authors":"Tommaso Salvini, Sarah Bern, Cristina Tosetto, Adelaide Ristori","doi":"10.2307/j.ctv1h0p5jx.19","DOIUrl":"https://doi.org/10.2307/j.ctv1h0p5jx.19","url":null,"abstract":"The article analyses theatre photography in the period between the second half of the Nineteenth Century and the early Twentieth Century. In this period, in parallel with the diffusion of the photographic technique, the phenomenon of the great actor establishes throughout Europe, while we are witnessing to the birth of the Stage Di-recting. The investigation moves from a double perspective: on the one hand, highlighting how the notion of theatricality is at the basis of the photographic device, and on the other, underlining how theatre photography is characterised by a substantial ambiguity which calls into question its testimonial value. The two perspectives of investigation are developed starting from examples taken from the European scene, highlighting how, depending on the context, photography and theatre play a role of mutual modelisation, and focusing on photographic portraits of actors, both private and on stage, through some emblematic cases, such as Tommaso Salvini, Sarah Bern-hardt, Eleonora Duse, Henry Irving. sources (two portraits, some a caricature) be Schiller’s Stuarda Ristori. identification that the used to build the scenic image the allowed to precisely trace the portrait that inspired the figurative conception of being born into a family of actors. Such traits of realistic prosaicity are instead con-firmed by some testimonies and may be found in the image of her vigorous stage action documented by the caricature. among to build an iconic image of herself, which spread internationally since her Parisian debut in 1855. Aware of the importance of photography, she did not hesitate to be portrayed by the most important photographers. Ristori thus entered the pantheon of illustrious people, known throughout Europe and beyond its borders. Her portraits in carte de visite format quickly integrat-ed into the circuit of the press, establishing a complex relationship with pre-existing graphic techniques, such as engraving. The article analyses the progressive diffusion of Adelaide Ristori’s photographs, focusing in particular on the carte de visite format and on newspapers. The corpus includes three photographs of the actress kept at the Bibliothèque Nationale de France (BNF): a portrait by August Bertsch and two cartes de visite by André Adolphe Eugène Disdéri and Étienne Carjat. What image of the actress do these pictures convey? How do press, graphic arts and photography inter-act in creating the iconic image of the actress? of the ballet tradition. The Cuocolo Collection, housed at the Museo Nazionale di San Martino in Naples, is an extraordinary photographic collection, dedicated exclusively to the world of popular theater in Naples in the nineteenth century and especially at the Teatro San Carlino. The essay intends to reconstruct the historical-theatrical events of the Collection, full of eighty-nine shots between portraits and ensemble scenes, and deepen its historical-spectacular meanings. The study is dedicated to this theatre ","PeriodicalId":129465,"journal":{"name":"La rovina come pretesto","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126282447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"L’antefatto","authors":"","doi":"10.2307/j.ctv1h0p5jx.15","DOIUrl":"https://doi.org/10.2307/j.ctv1h0p5jx.15","url":null,"abstract":"","PeriodicalId":129465,"journal":{"name":"La rovina come pretesto","volume":"485 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115951897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Prologo:","authors":"Miguel F. Gil Palacios","doi":"10.1787/ed7f52ff-es","DOIUrl":"https://doi.org/10.1787/ed7f52ff-es","url":null,"abstract":"","PeriodicalId":129465,"journal":{"name":"La rovina come pretesto","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125150437","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Prologo:","authors":"J. M. Touza","doi":"10.2307/j.ctv9zcgtc.3","DOIUrl":"https://doi.org/10.2307/j.ctv9zcgtc.3","url":null,"abstract":"En Galicia, desde al menos el siglo XIX, la figura de Prisciliano presenta los rasgos propios de un héroe nacional. Para Manuel Murguía, hacia 1865, su nombre es un motivo de orgullo, porque muestra el alto desarrollo intelectual de Galicia en aquellos lejanos tiempos y porque, pese a sus errores, contribuyó a la implantación del cristianismo en esta parte del Imperio romano. Se extiende Murguía en explicar las causas de que sus doctrinas tuvieran aceptación tan general en Galicia y cree que se debe al hecho de que entroncaron con antiguas tradiciones muy arraigadas: “Prisciliano conmueve las gentes célticas de Galicia, amalgamando los dogmas cristianos con las antiguas tradiciones de nuestro pueblo” (Historia de Galicia, La Coruña, 19062, 568). Esta idea la retomarán los integrantes de la “Generación Nos” en los años veinte del siglo pasado, con distintos matices, para hacer de Prisciliano el fundador de una Iglesia separada, más o menos católica (según los autores), pero específicamente gallega (en tanto que céltica) y enfrentada al poder (imperial en su caso). Tal vez quien mayor énfasis puso fue Alfonso Rodríguez Castelao, que le dedicó al heresiarca fervorosas palabras en su obra más importante, Sempre en Galiza, publicada ya en el exilio, en Buenos Aires, en 1944 (edición crítica en Santiago de Compostela, 1992). Allí Prisciliano, como puede verse en la página 267, encarna los mejores valores del alma gallega entendida como una realidad ahistórica:","PeriodicalId":129465,"journal":{"name":"La rovina come pretesto","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121826789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}