Drammaturgia最新文献_第4页

Fotografi, pittori, attori a Genova tra fine Ottocento e primo Novecento 摄影师，画家，演员在19世纪末和20世纪初在热那亚

Drammaturgia Pub Date : 2022-04-05 DOI: 10.36253/dramma-13545

Elisabetta Papone

{"title":"Fotografi, pittori, attori a Genova tra fine Ottocento e primo Novecento","authors":"Elisabetta Papone","doi":"10.36253/dramma-13545","DOIUrl":"https://doi.org/10.36253/dramma-13545","url":null,"abstract":"The essay analyses the close relationship established by the three major photographic studios active in Genoa between the end of the nineteenth century and the beginning of the twentieth century with the intellectual and artistic environment, in particular with the theatrical world, both locally and nationally. Starting from a systematic analysis of the cultural and society chronicles published in the newspapers, and comparing the information found with the photographs preserved in the main city and national photographic collections and with the photomechanical reproductions in contemporary publications, an attempt was made to recompose and date the images relating to the opera and dramaturgy produced by the Genoese studios. Despite the sharing of the communication strategy based on the systematic presence in the media and on the often instrumental alliance with the entertainment world, the photographers considered here express themselves with different styles. Among them, the Sciutto photographic studio comes out for quality and awareness, especially with the portraits of Eleonora Duse, memorable for the author and the actress. Finally, light is shed on the influence exerted by the theatrical performances on the taste of the bourgeoisie and on the contamination with the photographic portrait.","PeriodicalId":30797,"journal":{"name":"Drammaturgia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48043016","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

Il teatro in posa nello studio dei fratelli Vianelli Vianelli兄弟工作室的舞台

Drammaturgia Pub Date : 2022-04-05 DOI: 10.36253/dramma-13543

Linda Baldassin

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Mimì Aguglia e Marinella Bragaglia alla prova della fotografia 咪咪·阿格利亚和马里内拉·布拉基利亚在摄影测试中

Drammaturgia Pub Date : 2022-04-05 DOI: 10.36253/dramma-13550

S. Scattina

{"title":"Mimì Aguglia e Marinella Bragaglia alla prova della fotografia","authors":"S. Scattina","doi":"10.36253/dramma-13550","DOIUrl":"https://doi.org/10.36253/dramma-13550","url":null,"abstract":"The pictures featuring Mimì Aguglia and Marinella Bragaglia, actresses from the Sicilian dialect theatre, blur the boundaries between stage and life, fiction and reality. The interior and poetic space of the theatrical action is identified with the physical space, discovering, in the geography of a face, in the arcane outline of an expression, the traces of a submerged landscape. Photos that also allow us to explore the way in which the island (and national) theatre was visually narrated from the second half of the 19th century to the very early years of the 20th century. Starting from photographic documents of the time, the contribution will attempt to outline – taking into account a few, but essential, biographical elements – the portrait of these two significant figures of a more general dramaturgy of actresses. Inhabiting the stories of these actresses means attempting to tune «voices and souls, bodies and writings», in a fertile interweaving, according to the indications left by Claudio Meldolesi, between «intimate images», the «level of techniques» and the «level of the given conditions». We will see, going beyond the image of the actress, how the photos become a model of femininity, success or more generally of life (the performer becomes the object of attention far beyond the stage, as an example of woman, wife and mother), among the female spectators. ","PeriodicalId":30797,"journal":{"name":"Drammaturgia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45283433","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

Adelaide Ristori dalle ‘cartes de visite’ alla stampa internazionale (1854-1864) 阿德莱德餐厅从“访问菜单”到国际媒体（1854-1864）

Drammaturgia Pub Date : 2022-04-05 DOI: 10.36253/dramma-13540

Cristina Tosetto

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Attori del teatro San Carlino fra storia e fotografia nella collezione Cuocolo 库科洛收藏中历史与摄影之间的圣卡林诺剧院演员

Drammaturgia Pub Date : 2022-04-05 DOI: 10.36253/dramma-13542

T. Megale

引用次数: 0

Ritratto fotografico degli attori a Milano tra Otto e Novecento. Strategie di rappresentazione 19世纪至20世纪米兰演员的摄影肖像。代表策略

Drammaturgia Pub Date : 2022-04-05 DOI: 10.36253/dramma-13546

Silvia Paoli

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Iconografia e interpretazioni: ‘Maria Stuarda’ di Adelaide Ristori 肖像学和诠释:阿德莱德里斯托里的《玛丽亚·斯图尔特达》

Drammaturgia Pub Date : 2022-04-05 DOI: 10.36253/dramma-13539

Francesca Simoncini

{"title":"Iconografia e interpretazioni: ‘Maria Stuarda’ di Adelaide Ristori","authors":"Francesca Simoncini","doi":"10.36253/dramma-13539","DOIUrl":"https://doi.org/10.36253/dramma-13539","url":null,"abstract":"The article examines some iconographic sources (two portraits, some photographs, a caricature) that can be traced back to Friedrich Schiller’s interpretation of Maria Stuarda, a famous pièce de resistance of Adelaide Ristori. The identification of the two paintings that the actress used to build the scenic image of the Scottish queen has allowed us to precisely trace the portrait that inspired her for the figurative conception of the character, moving away from the author’s indications. The comparison between the photographs and the caricature allows us to reconstruct still little studied aspects of the actress’s acting style. In the third scene of the third act of Schiller’s play, Adelaide Ristori was able to blend the Italian theatrical tradition with the noblest and most sophisticated features of her new and celebrated manner. The still photos that remained to us, probably conditioned by a precise will for self-representation exercised by the actress-marquise, faithfully render the dignified and composed aspect of her theatrical gestures and pass down the sublime trait, but they do not document the traces of her more energetic physical actions, which can be traced back to her being born into a family of actors. Such traits of realistic prosaicity are instead confirmed by some testimonies and may be found in the image of her vigorous stage action documented by the caricature.","PeriodicalId":30797,"journal":{"name":"Drammaturgia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48688281","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 fotografia di danza nei primi decenni del Novecento 20世纪初的舞蹈摄影

Drammaturgia Pub Date : 2022-04-05 DOI: 10.36253/dramma-13547

Samantha Marenzi

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«Ridurre li drammi all’esigenza». Il modello performativo dell’opera in musica dai libretti del ‘Fondo Bonamici’ della Biblioteca Marucelliana di Firenze: disseminazione e adattamenti (1600-1737) “根据需要减少戏剧。”音乐中歌剧的表演模式来自佛罗伦萨马鲁塞利安娜图书馆“Fondo Bonamici”的剧本：传播和改编（1600-1737）

Drammaturgia Pub Date : 2021-03-12 DOI: 10.36253/dramma-12693

L. Degl'Innocenti, Caterina Pagnini

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