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Amerigo Guasti (Firenze, 31 marzo 1870 (?)-Busto Arsizio, 15 marzo 1926) Amerigo Guasti（佛罗伦萨，1870年3月31日（？）-Busto Arsizio，1926年3月15日）
Drammaturgia Pub Date : 2022-12-15 DOI: 10.36253/dramma-14138
Gabriella Cambiaghi
{"title":"Amerigo Guasti (Firenze, 31 marzo 1870 (?)-Busto Arsizio, 15 marzo 1926)","authors":"Gabriella Cambiaghi","doi":"10.36253/dramma-14138","DOIUrl":"https://doi.org/10.36253/dramma-14138","url":null,"abstract":"Trained at the acting school of Luigi Rasi in Florence, Amerigo Guasti affirmed himself as appreciated Brillante between 19th and 20th century. As well as being a good interpreter, he is a skilled ‘Capocomico’ and director of his own companies. Since 1906 he establishes a permanent collaboration with Dina Galli. He is also a translator and author of dramatic texts, newspaper articles and an autobiographical book.","PeriodicalId":30797,"journal":{"name":"Drammaturgia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48404235","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}
引用次数: 0
Paradisi e voli angelici nello spettacolo e nell’iconografia in Italia nel lungo Quattrocento 在19世纪的意大利，天堂和天使的飞行在娱乐和图像中
Drammaturgia Pub Date : 2022-12-15 DOI: 10.36253/dramma-14130
Paola Ventrone
{"title":"Paradisi e voli angelici nello spettacolo e nell’iconografia in Italia nel lungo Quattrocento","authors":"Paola Ventrone","doi":"10.36253/dramma-14130","DOIUrl":"https://doi.org/10.36253/dramma-14130","url":null,"abstract":"At the beginning of the 15th century, stage machines were developed in Florence to set up the mysteries of the Annunciation, Ascension and Pentecost in some churches of the city. The architect-engineer Filippo Brunelleschi, according to Giorgio Vasari, perfected the structure. These apparatuses represented heaven in three dimensions, with God the Father and his angels personified by live singers and musicians who hovered in the air in a whirlwind of dances of lights and sounds. The aim of this essay is to show, on the one hand, that the function of these apparatuses was to offer the faithful an imaginary of heaven, inspired by the model of Dante’s Comedy, which they had never seen before in the pictorial representations widespread in places of worship; and, on the other hand, that the image of heaven as a place of delight, light and infinite joy was intended to directly stimulate the emotional sensitivity of believers, encouraging them to behave as good Christians in order to enter it after death. In addition to the emotional impact aroused on the public by these stage sets, is taken into consideration the visual and kinetic suggestion that this new representation of heaven exerted on artists, both Florentine and non-Florentine, irreversibly influencing their figurative lexicon, as evidenced by the numerous iconographic sources examined. Finally, some examples of reworking of Brunelleschi’s machines in non-Florentine contexts and for themes other than religious ones are analysed, as in the case of the Feast of Paradise, created in Milan by Leonardo da Vinci in 1490, and in various representations, sacred and profane, set up in Ferrara between the end of the 15th century and the first years of the 16th century.","PeriodicalId":30797,"journal":{"name":"Drammaturgia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46198627","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}
引用次数: 0
Dina Galli (Milano, 6 dicembre 1877-Roma, 4 marzo 1951) 蒂娜·加利(米兰，1877年12月6日，罗马，1951年3月4日)
Drammaturgia Pub Date : 2022-12-15 DOI: 10.36253/dramma-14136
E. Agostini
{"title":"Dina Galli (Milano, 6 dicembre 1877-Roma, 4 marzo 1951)","authors":"E. Agostini","doi":"10.36253/dramma-14136","DOIUrl":"https://doi.org/10.36253/dramma-14136","url":null,"abstract":"Trained in the great family of Edoardo Ferravilla’s Milanese dialect companies, in early twentieth century Dina Galli becomes one of the greatest comic actresses of Italian scene. She plays with great contemporary actors such as Virgilio Talli and Antonio Gandusio and she explores all the expressive languages of performance: theater, radio and cinema.","PeriodicalId":30797,"journal":{"name":"Drammaturgia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46446958","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}
引用次数: 0
Antonio Gandusio (Rovigno d’Istria, 29 luglio 1872-Milano, 23 maggio 1951) 安东尼奥·甘杜西奥（Rovinj d'Istria，1872年7月29日-米兰，1951年5月23日）
Drammaturgia Pub Date : 2022-12-15 DOI: 10.36253/dramma-14137
Giulia Bravi
{"title":"Antonio Gandusio (Rovigno d’Istria, 29 luglio 1872-Milano, 23 maggio 1951)","authors":"Giulia Bravi","doi":"10.36253/dramma-14137","DOIUrl":"https://doi.org/10.36253/dramma-14137","url":null,"abstract":"Antonio Gandusio is among the last Brillante to tread the Italian scenes. Not a son of art, he becomes one of the most important exponents of Italian comedy of early twentieth century. In his career he acts with actors such as Ermete Novelli, Flavio Andò and Lyda Borelli. In addition to being a theater, radio and cinema’s performer, he is a refined book collector and passionate reader.","PeriodicalId":30797,"journal":{"name":"Drammaturgia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45386855","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}
引用次数: 0
Raccontare una ballerina dell’Ottocento: alcuni discorsi intorno a Sofia Fuoco (1830-1916) 讲述19世纪芭蕾舞演员的故事:索非亚·福格(1830-1916)
Drammaturgia Pub Date : 2022-12-15 DOI: 10.36253/dramma-14133
Elena Cervellati
{"title":"Raccontare una ballerina dell’Ottocento: alcuni discorsi intorno a Sofia Fuoco (1830-1916)","authors":"Elena Cervellati","doi":"10.36253/dramma-14133","DOIUrl":"https://doi.org/10.36253/dramma-14133","url":null,"abstract":"Sofia Fuoco is an Italian dancer trained by Carlo Blasis at the Teatro alla Scala. She becomes a celebrated ballerina in Giuseppe Verdi’s operas, both in Milan and Paris (where she has her debut in 1846), as well as in full-length ballets created for herself. After Paris, she dances in London and Madrid, but also in dozens of less important cities, until her retirement from the scene in the late fifties, popularizing in Europe the sunny spirit of the so-called »Italian style«. In addition to the mostly positive comments by the press, which praised her amiability, vivacity and warmth, and to the florilegium of praising compositions, quite usual for the dancing celebrities, some biographical writings are also published that depict a ballerina with technical skills, temperament and beauty, but also a good-hearted woman. Through the privileged lens of Sofia Fuoco’s »microhistory«, this essay focuses on the critical and biographical multicultural discourses of the time, but also it investigates the modes of construction of the artistic identity of an Italian dancer of the mid-Nineteenth Century Europe.","PeriodicalId":30797,"journal":{"name":"Drammaturgia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43072743","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}
引用次数: 0
Specialisti del teatro comico del primo Novecento: Dina Galli, Antonio Gandusio, Amerigo Guasti 20世纪早期喜剧戏剧专家：迪娜·加利、安东尼奥·甘杜西奥、阿梅里戈·瓜斯蒂
Drammaturgia Pub Date : 2022-12-15 DOI: 10.36253/dramma-14135
Francesca Simoncini
{"title":"Specialisti del teatro comico del primo Novecento: Dina Galli, Antonio Gandusio, Amerigo Guasti","authors":"Francesca Simoncini","doi":"10.36253/dramma-14135","DOIUrl":"https://doi.org/10.36253/dramma-14135","url":null,"abstract":"The section is devoted to the biographical profiles of Dina Galli (1877-1951), Antonio Gandusio (1872-1951) and Amerigo Guasti (1870-1926).","PeriodicalId":30797,"journal":{"name":"Drammaturgia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41584532","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}
引用次数: 0
Per Stefano Per Stefano
Drammaturgia Pub Date : 2022-12-15 DOI: 10.36253/dramma-14143
S. Ferrone
{"title":"Per Stefano","authors":"S. Ferrone","doi":"10.36253/dramma-14143","DOIUrl":"https://doi.org/10.36253/dramma-14143","url":null,"abstract":"<jats:p>.</jats:p>","PeriodicalId":30797,"journal":{"name":"Drammaturgia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48556307","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}
引用次数: 0
Postille a ‘Dello inganno’ di Iacopo del Polta 警察的“骗子”
Drammaturgia Pub Date : 2022-12-15 DOI: 10.36253/dramma-14131
I. Innamorati
{"title":"Postille a ‘Dello inganno’ di Iacopo del Polta","authors":"I. Innamorati","doi":"10.36253/dramma-14131","DOIUrl":"https://doi.org/10.36253/dramma-14131","url":null,"abstract":"The advancement of studies on Florentine theater in the early decades of the 16th century has underlined the importance of deepening the investigation on the social subjects of the commissioners and on the productive dynamics of the context, especially in relation to a particular group of dramaturgical texts that are formally independent of the supervening comedy modeled on the Latin specimens and tested in Padan and Roman courts. These are texts defined as moral comedies for the thesis that is to be demonstrated, and for the allegorical figures that intervene in them. Texts that would seem to fade behind a monotonous sentence but on the contrary reveal precise intentions and communicative purposes only that they are traced back, where possible, to the client groups and recipients. Such is the case of Jacopo del Polta’s Dell’Inganno who composed his moral comedy at the request of the Compagnia della Cicilia, that is a brotherhood that owned an oratory dedicated to the prayer and worship of Santa Cecilia, near the Franciscan Convent of Fiesole. At some moment the pious brotherhood and the neighboring Franciscan fathers had quarreled over the ownership of a wall. Del Polta’s operetta, recited to entertain the confreres during the banquet, aimed to persuade them to overcome conflicts.","PeriodicalId":30797,"journal":{"name":"Drammaturgia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41869602","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}
引用次数: 0
La famiglia Pepoli tra mecenatismo e impresariato. Prime considerazioni 佩波利家族介于赞助人和经理人之间。首要考虑事项
Drammaturgia Pub Date : 2022-12-15 DOI: 10.36253/dramma-14139
Lorena Vallieri
{"title":"La famiglia Pepoli tra mecenatismo e impresariato. Prime considerazioni","authors":"Lorena Vallieri","doi":"10.36253/dramma-14139","DOIUrl":"https://doi.org/10.36253/dramma-14139","url":null,"abstract":"The contribution presents the first results of an ongoing research on the patronage activities of the Pepoli, one of the oldest Bolognese families. The prestige of their aristocracy, their considerable riches, their love of pageantry and a select education permitted them to present as refined patrons, with an activity that gradually developed into a modern business. If the protection accorded by Sicinio Pepoli to Farinelli is the best-known episode, other members of the family were able to establish themselves on the European theatrical scene and acquire recognition unsuspected to this day.","PeriodicalId":30797,"journal":{"name":"Drammaturgia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47993844","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}
引用次数: 0
I Referees 我裁判
Drammaturgia Pub Date : 2022-12-15 DOI: 10.36253/dramma-14142
Aa.Vv. Aavv
{"title":"I Referees","authors":"Aa.Vv. Aavv","doi":"10.36253/dramma-14142","DOIUrl":"https://doi.org/10.36253/dramma-14142","url":null,"abstract":"<jats:p>.</jats:p>","PeriodicalId":30797,"journal":{"name":"Drammaturgia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41551035","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}
引用次数: 1
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