Numero monografico del "Bollettino della Deputazione di Storia Patria per l'Umbria" dedicato all'... more Numero monografico del "Bollettino della Deputazione di Storia Patria per l'Umbria" dedicato all'edizione di inventari delle confraternite disciplinate di S. Francesco, S. Domenico e S. Agostino dei secc. XIV-XVI, con un saggio introduttivo e indici a cura di Attilio Bartoli Langeli.
The phrase quoted above, from an essay written by Claudio Meldolesi in years now distant, seems t... more The phrase quoted above, from an essay written by Claudio Meldolesi in years now distant, seems to offer the most adequate idea of the theatre's capacity to carry out its own sociological action. Meldolesi stated that a fruitful interdisciplinary dialogue between theatre and sociology should start from the awareness that theatre is endowed with a deeper breath than that of society: a dialogue between the two disciplines must therefore be based on a deepening of their different identities, and not on their superficial analogies.1 When Meldolesi's statement was written, at the end of the 1980s, he had in mind Grotowski's post-theatre. But his statement gives legibility and consistency even to that variegated constellation of experiences which, bringing their action on the ground, challenge themselves, in various ways, with communities, identities, belonging, and also question the current meaning of theatre in the context of an ever-faster, interconnected, 'overheated' world.2 To this kind of research belongs the operating method practised by Fabrizio Crisafulli, which the director himself calls "Theatre of Places", and which I have taken as a case study here for at least three reasons: 1) for the longevity of this practice, established through many years of field work; 2) because the author has constantly accompanied his project with a self-analysis regarding
In this interview, Fabrizio Crisafulli talks about
his approach to theatrical creation from the
p... more In this interview, Fabrizio Crisafulli talks about his approach to theatrical creation from the points of view of the performer's contribution to scenic composition, of the cooperation between performer and director in defining the work’s dramaturgical tissue, of the performance as a place of immanent meaning and producer of thought.
The essay deals with the didactic activity conducted by Antonio Morrocchesi at the Academy of Fin... more The essay deals with the didactic activity conducted by Antonio Morrocchesi at the Academy of Fine Arts in Florence and is the result of a systematic survey of archival documents carried out by the author in the three-year period 2016-2018. In particular, it examines the dossiers relating to the so-called ‘premi di emulazione’, that is the competitions which, on an annual and three-year basis, saw the most talented students challenge each other in a competition aimed at measuring progress in study and their own artistic maturity. Through the themes assigned to the competitors, it was possible to identify the canon of authors adopted in academic teaching, thus offering an additional perspective on the subject to that provided by the Lezioni di declamazione e d’arte teatrale.
What was the relationship between the prayer of the medieval
mystics and the representational pra... more What was the relationship between the prayer of the medieval mystics and the representational practices of the confraternities? Ha- giographic literature conveyed memories of cases in which the drama- tization of fundamental episodes of the Christian mythical repertoire was at the origin of suggestive ecstatic phenomena. However, the con- nections between the two areas of experience were probably deeper and more substantial: the essay explores them also through the lens of Grotowskian post-theatrical research, hypothesising the existence of a common substratum of knowledge related to orality, body tech- niques and work on the self. This hypothesis seems to be supported also by the fact that, in the transition from performance to writing, evidence of the convergence between these two branches of tradition is documented in the production of devotional pamphlets for popular consumption.
This article presents the 1573 statutes of the flagellant confraternity of San Francesco in Orvie... more This article presents the 1573 statutes of the flagellant confraternity of San Francesco in Orvieto (founded 1323) and provides a transcription of these statutes. It describes the manuscript, analyses its attribution to this confraternity, and briefly summarises the confraternity’s own history.
Sinestesieonline. Supplemento della rivista "Sinestesie", 2021
Fabrizio Crisafulli is a theatre director and a visual artist who combines his creati... more Fabrizio Crisafulli is a theatre director and a visual artist who combines his creative work with a sharp self-analysis of his own artistic process and theatrical aesthetics. Moreover, he is a pedagogue and a scholar who often deals with unusual themes, with notable historio-graphical acumen. This conversation analyses hisrelationship with writing and considers (ex-plicitly or implicitly) the connection of his three books to the themes and motifs of his theatrical research.
in La scena materiale. Oggetti e pratiche della rappresentazione nel teatro medievale, a cura di Tiziano Pacchiarotti, 2015
Realizzazione editoriale a cura di ARUN MALTESE ([email protected]) È vietata la ripro... more Realizzazione editoriale a cura di ARUN MALTESE ([email protected]) È vietata la riproduzione, anche parziale, non autorizzata, con qualsiasi mezzo effettuata, compresa la fotocopia, anche a uso interno e didattico. L'illecito sarà penalmente perseguibile a norma dell 'art. 171 della Legge n. 633 del 22.04.1941 ISBN 978-88-6274-623-6 1 Angela da Foligno, Il libro della beata Angela da Foligno (Thier -Calufetti ed. 1985, p. 278). 2 Sull'episodio, più volte ricordato dalla storiografia, si veda da ultimo Sensi 2010, p. 16. Le Rappresentazioni della Settimana Santa. Dall'elaborazione del repertorio testuale al teatro materiale (XIV-XVI sec.) di Mara Nerbano La scena materiale. Oggetti e pratiche della rappresentazione nel teatro medievale, a cura di T. Pacchiarotti, Alessandria 2015, pp. 263-318
Le manuscrit Landau Finaly n. 39 de la Biblioteca Nazionale Centrale de Florence, connu des érudi... more Le manuscrit Landau Finaly n. 39 de la Biblioteca Nazionale Centrale de Florence, connu des érudits comme le laudario ‘Eugubino’, a été attribuée jusqu’à ce jour à la confrérie de Santa Maria del Mercato à Gubbio. Cette proposition sur l’origine du volume, avancée vers la fin du XIXe siècle par Giuseppe Mazzatinti, n’a jamais été soumise à des contrôles rigoureux. L’examen du contenu de la collection contredit une telle hypothèse. Cet article propose de rendre le recueil de laudes à une confrérie peu connue de Santa Maria di Costacciaro, un petit village fortifié dans le contado de Gubbio situé sur la voie Flamine, à la frontière entre l’Ombrie et les Marches. Cette nouvelle attribution est basée sur l’analyse de trois laudes en l’honneur du bienheureux Tommaso da Costacciaro (ca. 1262–1337), un ermite camaldule toujours vénéré aujourd’hui comme patron de son village. Ces travaux sont confirmés par le fait que certains noms dans une liste de membres rapporté au folio 25 sont identifiés dans des documents notariés comme résidents de Costacciaro.
Pontedera is a little industrial city with a relevant presence of foreign immigrants. It is also ... more Pontedera is a little industrial city with a relevant presence of foreign immigrants. It is also the Jerzy Grotowski and Thomas Richards Workcenter historical seat, that opens his workspace inside an old farm located in the nearby countryside. Since two years, the Workcenter associate director Mario Biagini has been conducting an artistic research entitled “Invito al Canto” with his Open Program group. This project involves cooperatives, associations and citizen informal communities but also young African asylum seekers and refugees. Its purpose is to rediscover what we might call an ‘Art of the encounter’, taking the form of so-called Incontri cantati. These events take place mainly inside non-theatrical spaces and they aim to stimulate participants to become co-creators of a unique and always original artwork, using dances, songs coming from the African diaspora, or simply a qualified attention. Moving from an exquisitely artistic approach, this original performative practice seems to go further cultural and social differences. It creates a space of mutual recognition and it responds to our time greatest challenges in a brand new way.
in Teatro sacro. Pratiche di dialogo tra religione e spettacolo. A cura di P.M. Della Porta e A. Tinterri. Perugia: Morlacchi, 2019
La confraternita di S. Stefano di Assisi è la più riccamente documentata tra le confraternite dis... more La confraternita di S. Stefano di Assisi è la più riccamente documentata tra le confraternite disciplinate dell'Umbria medievale. Il saggio si occupa delle paraliturgie della Settimana Santa, quali emergono dalle fonti d'archivio, mettendo in rilievo per la prima volta non solo la 'rappresentazione' delle laude della Passione nel Venerdì Santo, ma anche la rievocazione dell'Ultima Cena nella sera del Giovedì Santo, incentrata sull'offerta rituale d'un pasto a dodici poveri quale premessa della cerimonia del Mandato.
Annali online dell’Università di Ferrara. Sezione di Lettere, 2019
The so-called Laudario Eugubino (MS. Landau Finaly 39) has been attributed to date to the brother... more The so-called Laudario Eugubino (MS. Landau Finaly 39) has been attributed to date to the brotherhood of Santa Maria del Mercato in Gubbio. This paper aims to demonstrate that, instead, it belonged to the brotherhood of Santa Maria Vergine in Costacciaro, a small burg of the Eugubian contado on the ancient Via Flaminia. This conclusion derives from the analysis of three Laude dedicated to Blessed Tommaso da Costacciaro (ca. 1262-1337), as well as from the discovery that some names listed on one of the last sheets of the codex are found in notarial records as residents of Costacciaro.
Sinestesieonline. Periodico quadrimestrale di studi sulla letteratura e le arti. Supplemento della rivista ‘Sinestesie’, 2020
The “theatre of places” is the name of the research that Fabrizio Crisafulli has carried out for ... more The “theatre of places” is the name of the research that Fabrizio Crisafulli has carried out for about thirty years, combining an intense and spectacular activity of installation with an acute reflection on his creative process. The article aims to consider some key aspects of his original project, examining his writings and presenting a selection of his numerous works.
Annali Online dell'Università di Ferrara. Sezione di Lettere, 2015
For a long time mystical experience has been a predominantly female mode of relation with the sac... more For a long time mystical experience has been a predominantly female mode of relation with the sacred. The devotional practices and the christomimetic postures characterizing the piety of mystics and charismatics women include many theatrical aspects. They are part of a vibrant dialogue with cults and rituals promoted in the Middle Ages and in the Renaissance by secular and ecclesiastical institutions, such as brotherhoods and religious orders. This phenomenon includes particularly interesting characteristics at the end of the fifteenth and beginning of the sixteenth centuries, when the «living saints» are sought after and protected by the princes of the Italian courts, setting up a relationship of mutual legitimation. This essay investigates the interweaving of these issues by analyzing the paradigmatic case of the stigmatized Lucia Brocadelli da Narni, a famous holy woman who enjoyed the patronage of the Duke of Ferrara, Ercole I d’Este.
This article analyses the devotional practices of the Italian bizzoche (penitent women) with part... more This article analyses the devotional practices of the Italian bizzoche (penitent women) with particular reference to the chronological and geographical environment of central Italy at the end of the thirteenth and the beginning of the fourteenth centuries. At that time lay piety was expressed in forms that were particularly creative, both in the context of the female religious movement, and within the framework of other experiences, such as the beginnings of the association of disciplined groups. The oldest testimony concerning a public representatio of the Passion staged by a confraternity dates to 1327. The phenomena discussed here (physical action, song, ritual performance, the identification processes of ecstasy) anticipate what came decades later: the establishment of the first dramatic ceremonies based on literary repertories. It is not so much a question of establishing chronological priorities, as that of analysing two areas of religious experience, one more visible, the other more hidden, that both contributed to giving shape to a performative culture which can be traced up to at least the beginning of the sixteenth century.
Numero monografico del "Bollettino della Deputazione di Storia Patria per l'Umbria" dedicato all'... more Numero monografico del "Bollettino della Deputazione di Storia Patria per l'Umbria" dedicato all'edizione di inventari delle confraternite disciplinate di S. Francesco, S. Domenico e S. Agostino dei secc. XIV-XVI, con un saggio introduttivo e indici a cura di Attilio Bartoli Langeli.
The phrase quoted above, from an essay written by Claudio Meldolesi in years now distant, seems t... more The phrase quoted above, from an essay written by Claudio Meldolesi in years now distant, seems to offer the most adequate idea of the theatre's capacity to carry out its own sociological action. Meldolesi stated that a fruitful interdisciplinary dialogue between theatre and sociology should start from the awareness that theatre is endowed with a deeper breath than that of society: a dialogue between the two disciplines must therefore be based on a deepening of their different identities, and not on their superficial analogies.1 When Meldolesi's statement was written, at the end of the 1980s, he had in mind Grotowski's post-theatre. But his statement gives legibility and consistency even to that variegated constellation of experiences which, bringing their action on the ground, challenge themselves, in various ways, with communities, identities, belonging, and also question the current meaning of theatre in the context of an ever-faster, interconnected, 'overheated' world.2 To this kind of research belongs the operating method practised by Fabrizio Crisafulli, which the director himself calls "Theatre of Places", and which I have taken as a case study here for at least three reasons: 1) for the longevity of this practice, established through many years of field work; 2) because the author has constantly accompanied his project with a self-analysis regarding
In this interview, Fabrizio Crisafulli talks about
his approach to theatrical creation from the
p... more In this interview, Fabrizio Crisafulli talks about his approach to theatrical creation from the points of view of the performer's contribution to scenic composition, of the cooperation between performer and director in defining the work’s dramaturgical tissue, of the performance as a place of immanent meaning and producer of thought.
The essay deals with the didactic activity conducted by Antonio Morrocchesi at the Academy of Fin... more The essay deals with the didactic activity conducted by Antonio Morrocchesi at the Academy of Fine Arts in Florence and is the result of a systematic survey of archival documents carried out by the author in the three-year period 2016-2018. In particular, it examines the dossiers relating to the so-called ‘premi di emulazione’, that is the competitions which, on an annual and three-year basis, saw the most talented students challenge each other in a competition aimed at measuring progress in study and their own artistic maturity. Through the themes assigned to the competitors, it was possible to identify the canon of authors adopted in academic teaching, thus offering an additional perspective on the subject to that provided by the Lezioni di declamazione e d’arte teatrale.
What was the relationship between the prayer of the medieval
mystics and the representational pra... more What was the relationship between the prayer of the medieval mystics and the representational practices of the confraternities? Ha- giographic literature conveyed memories of cases in which the drama- tization of fundamental episodes of the Christian mythical repertoire was at the origin of suggestive ecstatic phenomena. However, the con- nections between the two areas of experience were probably deeper and more substantial: the essay explores them also through the lens of Grotowskian post-theatrical research, hypothesising the existence of a common substratum of knowledge related to orality, body tech- niques and work on the self. This hypothesis seems to be supported also by the fact that, in the transition from performance to writing, evidence of the convergence between these two branches of tradition is documented in the production of devotional pamphlets for popular consumption.
This article presents the 1573 statutes of the flagellant confraternity of San Francesco in Orvie... more This article presents the 1573 statutes of the flagellant confraternity of San Francesco in Orvieto (founded 1323) and provides a transcription of these statutes. It describes the manuscript, analyses its attribution to this confraternity, and briefly summarises the confraternity’s own history.
Sinestesieonline. Supplemento della rivista "Sinestesie", 2021
Fabrizio Crisafulli is a theatre director and a visual artist who combines his creati... more Fabrizio Crisafulli is a theatre director and a visual artist who combines his creative work with a sharp self-analysis of his own artistic process and theatrical aesthetics. Moreover, he is a pedagogue and a scholar who often deals with unusual themes, with notable historio-graphical acumen. This conversation analyses hisrelationship with writing and considers (ex-plicitly or implicitly) the connection of his three books to the themes and motifs of his theatrical research.
in La scena materiale. Oggetti e pratiche della rappresentazione nel teatro medievale, a cura di Tiziano Pacchiarotti, 2015
Realizzazione editoriale a cura di ARUN MALTESE ([email protected]) È vietata la ripro... more Realizzazione editoriale a cura di ARUN MALTESE ([email protected]) È vietata la riproduzione, anche parziale, non autorizzata, con qualsiasi mezzo effettuata, compresa la fotocopia, anche a uso interno e didattico. L'illecito sarà penalmente perseguibile a norma dell 'art. 171 della Legge n. 633 del 22.04.1941 ISBN 978-88-6274-623-6 1 Angela da Foligno, Il libro della beata Angela da Foligno (Thier -Calufetti ed. 1985, p. 278). 2 Sull'episodio, più volte ricordato dalla storiografia, si veda da ultimo Sensi 2010, p. 16. Le Rappresentazioni della Settimana Santa. Dall'elaborazione del repertorio testuale al teatro materiale (XIV-XVI sec.) di Mara Nerbano La scena materiale. Oggetti e pratiche della rappresentazione nel teatro medievale, a cura di T. Pacchiarotti, Alessandria 2015, pp. 263-318
Le manuscrit Landau Finaly n. 39 de la Biblioteca Nazionale Centrale de Florence, connu des érudi... more Le manuscrit Landau Finaly n. 39 de la Biblioteca Nazionale Centrale de Florence, connu des érudits comme le laudario ‘Eugubino’, a été attribuée jusqu’à ce jour à la confrérie de Santa Maria del Mercato à Gubbio. Cette proposition sur l’origine du volume, avancée vers la fin du XIXe siècle par Giuseppe Mazzatinti, n’a jamais été soumise à des contrôles rigoureux. L’examen du contenu de la collection contredit une telle hypothèse. Cet article propose de rendre le recueil de laudes à une confrérie peu connue de Santa Maria di Costacciaro, un petit village fortifié dans le contado de Gubbio situé sur la voie Flamine, à la frontière entre l’Ombrie et les Marches. Cette nouvelle attribution est basée sur l’analyse de trois laudes en l’honneur du bienheureux Tommaso da Costacciaro (ca. 1262–1337), un ermite camaldule toujours vénéré aujourd’hui comme patron de son village. Ces travaux sont confirmés par le fait que certains noms dans une liste de membres rapporté au folio 25 sont identifiés dans des documents notariés comme résidents de Costacciaro.
Pontedera is a little industrial city with a relevant presence of foreign immigrants. It is also ... more Pontedera is a little industrial city with a relevant presence of foreign immigrants. It is also the Jerzy Grotowski and Thomas Richards Workcenter historical seat, that opens his workspace inside an old farm located in the nearby countryside. Since two years, the Workcenter associate director Mario Biagini has been conducting an artistic research entitled “Invito al Canto” with his Open Program group. This project involves cooperatives, associations and citizen informal communities but also young African asylum seekers and refugees. Its purpose is to rediscover what we might call an ‘Art of the encounter’, taking the form of so-called Incontri cantati. These events take place mainly inside non-theatrical spaces and they aim to stimulate participants to become co-creators of a unique and always original artwork, using dances, songs coming from the African diaspora, or simply a qualified attention. Moving from an exquisitely artistic approach, this original performative practice seems to go further cultural and social differences. It creates a space of mutual recognition and it responds to our time greatest challenges in a brand new way.
in Teatro sacro. Pratiche di dialogo tra religione e spettacolo. A cura di P.M. Della Porta e A. Tinterri. Perugia: Morlacchi, 2019
La confraternita di S. Stefano di Assisi è la più riccamente documentata tra le confraternite dis... more La confraternita di S. Stefano di Assisi è la più riccamente documentata tra le confraternite disciplinate dell'Umbria medievale. Il saggio si occupa delle paraliturgie della Settimana Santa, quali emergono dalle fonti d'archivio, mettendo in rilievo per la prima volta non solo la 'rappresentazione' delle laude della Passione nel Venerdì Santo, ma anche la rievocazione dell'Ultima Cena nella sera del Giovedì Santo, incentrata sull'offerta rituale d'un pasto a dodici poveri quale premessa della cerimonia del Mandato.
Annali online dell’Università di Ferrara. Sezione di Lettere, 2019
The so-called Laudario Eugubino (MS. Landau Finaly 39) has been attributed to date to the brother... more The so-called Laudario Eugubino (MS. Landau Finaly 39) has been attributed to date to the brotherhood of Santa Maria del Mercato in Gubbio. This paper aims to demonstrate that, instead, it belonged to the brotherhood of Santa Maria Vergine in Costacciaro, a small burg of the Eugubian contado on the ancient Via Flaminia. This conclusion derives from the analysis of three Laude dedicated to Blessed Tommaso da Costacciaro (ca. 1262-1337), as well as from the discovery that some names listed on one of the last sheets of the codex are found in notarial records as residents of Costacciaro.
Sinestesieonline. Periodico quadrimestrale di studi sulla letteratura e le arti. Supplemento della rivista ‘Sinestesie’, 2020
The “theatre of places” is the name of the research that Fabrizio Crisafulli has carried out for ... more The “theatre of places” is the name of the research that Fabrizio Crisafulli has carried out for about thirty years, combining an intense and spectacular activity of installation with an acute reflection on his creative process. The article aims to consider some key aspects of his original project, examining his writings and presenting a selection of his numerous works.
Annali Online dell'Università di Ferrara. Sezione di Lettere, 2015
For a long time mystical experience has been a predominantly female mode of relation with the sac... more For a long time mystical experience has been a predominantly female mode of relation with the sacred. The devotional practices and the christomimetic postures characterizing the piety of mystics and charismatics women include many theatrical aspects. They are part of a vibrant dialogue with cults and rituals promoted in the Middle Ages and in the Renaissance by secular and ecclesiastical institutions, such as brotherhoods and religious orders. This phenomenon includes particularly interesting characteristics at the end of the fifteenth and beginning of the sixteenth centuries, when the «living saints» are sought after and protected by the princes of the Italian courts, setting up a relationship of mutual legitimation. This essay investigates the interweaving of these issues by analyzing the paradigmatic case of the stigmatized Lucia Brocadelli da Narni, a famous holy woman who enjoyed the patronage of the Duke of Ferrara, Ercole I d’Este.
This article analyses the devotional practices of the Italian bizzoche (penitent women) with part... more This article analyses the devotional practices of the Italian bizzoche (penitent women) with particular reference to the chronological and geographical environment of central Italy at the end of the thirteenth and the beginning of the fourteenth centuries. At that time lay piety was expressed in forms that were particularly creative, both in the context of the female religious movement, and within the framework of other experiences, such as the beginnings of the association of disciplined groups. The oldest testimony concerning a public representatio of the Passion staged by a confraternity dates to 1327. The phenomena discussed here (physical action, song, ritual performance, the identification processes of ecstasy) anticipate what came decades later: the establishment of the first dramatic ceremonies based on literary repertories. It is not so much a question of establishing chronological priorities, as that of analysing two areas of religious experience, one more visible, the other more hidden, that both contributed to giving shape to a performative culture which can be traced up to at least the beginning of the sixteenth century.
Nel 1980, aprendo il convegno intitolato Le laudi drammatiche umbre delle origini, Federico Dogli... more Nel 1980, aprendo il convegno intitolato Le laudi drammatiche umbre delle origini, Federico Doglio descriveva il più antico repertorio dei disciplinati come «una nuova drammaturgia, tanto fortemente radicata nel suo contesto originario, tanto intensa quanto 'intima', rappresentata nell'Oratorio a vantaggio dei Devoti, e che, solo nei decenni del primo Trecento, diventerà autonoma e sarà recitata all'aperto davanti al popolo, iniziando quella parabola che la muterà poi in ampia, spettacolosa e scenograficamente suggestiva Sacra Rappresentazione» 1 .
2014, 260 pp. di Mara Nerbano Tra le varie pubblicazioni di tema grotowskiano che hanno contrasse... more 2014, 260 pp. di Mara Nerbano Tra le varie pubblicazioni di tema grotowskiano che hanno contrassegnato gli anni recent, merita d'essere segnalata la riedizione del libro di Gabriele Vacis Awareness, già uscito nel 2002, e ora nuovamente pubblicato dall'editore Bulzoni con una pregevole introduzione di Mirella Schino dal ttolo eloquente: Raccontare Grotowski. È la narrazione, infat, a costtuire la cifra dominante dell'opera o, forse meglio, il collante che ne tene unit i diversi piani. Gabriele Vacis si considera un narratore. Fondatore del Laboratorio Teatro Setmo (1982), poi incorporato nel Teatro Stabile di Torino , e atuale diretore de I Teatri di Reggio Emilia, egli è regista, pedagogo, scritore, organizzatore culturale. Annoverato tra i padri del cosiddeto 'teatro di narrazione', insegna regia all'Università Catolica di Milano e leteratura e narrazione orale alla Scuola Holden di Torino, fondata dallo scritore Alessandro Baricco. Proprio questa sua atvità ha fornito il contesto alla genesi del libro, che, dodici anni fa, ha visto la luce per la prima volta nella collana Holden Maps/Scuola Holden per i tpi di Rizzoli.
Rodney Lokaj. Two Renaissance Friends: Baldassarre Castiglione, Domizio Falcone and Their Neo-Lat... more Rodney Lokaj. Two Renaissance Friends: Baldassarre Castiglione, Domizio Falcone and Their Neo-Latin Poetry. Tempe, Arizona: Arizona Center for Medieval and Renaissance Studies, 2015. Pp. xii, 372. ISBN 978-0-8669-8519-2.
Negli anni di governo di Ercole I d'Este, si assiste a Ferrara a una straordinaria foritura di at... more Negli anni di governo di Ercole I d'Este, si assiste a Ferrara a una straordinaria foritura di atvità spetacolari che si condensano essenzialmente atorno ai due poli della resttuzione del teatro antco, con la messa in scena dei volgarizzament delle commedie di Plauto e Terenzio, e delle rappresentazioni sacre, di cui solo recentemente si è iniziato a cogliere l'aspeto innovatvo e sperimentale. Se, infat, i cosiddet "festval plautni" si sono radicat profondamente
Roma: Edizioni di Storia e Letteratura, 2016. Pp. XVI+359. L'apertura agli studiosi degli archivi... more Roma: Edizioni di Storia e Letteratura, 2016. Pp. XVI+359. L'apertura agli studiosi degli archivi vaticani, concessa da Giovanni Paolo II nel 1998 ha reso possibili nuove piste di ricerca, dando luogo, tra l'altro, a un'intensa produzione storiografica relativa alle attività censorie esercitate dal Sant'Uffizio sulle grandi opere del pensiero e della letteratura occidentali. In quest'ambito, tuttavia, gli sforzi dei ricercatori si sono concentrati perlopiù sulla prima età moderna, che può ora vantare una bibliografia pressoché definitiva, mentre restano ancora rare le indagini sui libri messi all'Indice nel corso del Novecento: una situazione spiegabile, almeno in parte, col persistente limite d'accesso alle carte dell'Archivio della Congregazione per la Dottrina della Fede, attualmente consultabili fino alla fine del pontificato di Pio XI (10 febbraio 1939).
Arte y festa en la celebración de la Semana Santa. Desde los primeros cristanos hasta las más ant... more Arte y festa en la celebración de la Semana Santa. Desde los primeros cristanos hasta las más antguas confradías pasionistas, con prefazione di Francisco José Galante Gómez, Zaragoza, Mira Editores, 2014, 193 pp. di Mara Nerbano Pubblicato col contributo del Ministerio de Educación, Cultura y Deporte del governo spagnolo, riccamente illustrato, il libro di Fernando Galter Mart si occupa della produzione artstca legata alle celebrazioni della Setmana Santa e, più specifcamente, della scultura processionale di tema passionista. Un'opera impegnatva, sopratuto per l'ampio taglio cronologico e geografco, che abbraccia l'intera epoca medievale e tocca quasi tute le regioni europee, sia contnentali che mediterranee, ma la cui esposizione, chiara e gradevole, appare anche in grado di soddisfare le esigenze della didatca e dell'alta divulgazione.
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his approach to theatrical creation from the
points of view of the performer's contribution to
scenic composition, of the cooperation between
performer and director in defining the work’s
dramaturgical tissue, of the performance as a
place of immanent meaning and producer of
thought.
mystics and the representational practices of the confraternities? Ha-
giographic literature conveyed memories of cases in which the drama-
tization of fundamental episodes of the Christian mythical repertoire
was at the origin of suggestive ecstatic phenomena. However, the con-
nections between the two areas of experience were probably deeper
and more substantial: the essay explores them also through the lens
of Grotowskian post-theatrical research, hypothesising the existence
of a common substratum of knowledge related to orality, body tech-
niques and work on the self. This hypothesis seems to be supported
also by the fact that, in the transition from performance to writing,
evidence of the convergence between these two branches of tradition
is documented in the production of devotional pamphlets for popular
consumption.
his approach to theatrical creation from the
points of view of the performer's contribution to
scenic composition, of the cooperation between
performer and director in defining the work’s
dramaturgical tissue, of the performance as a
place of immanent meaning and producer of
thought.
mystics and the representational practices of the confraternities? Ha-
giographic literature conveyed memories of cases in which the drama-
tization of fundamental episodes of the Christian mythical repertoire
was at the origin of suggestive ecstatic phenomena. However, the con-
nections between the two areas of experience were probably deeper
and more substantial: the essay explores them also through the lens
of Grotowskian post-theatrical research, hypothesising the existence
of a common substratum of knowledge related to orality, body tech-
niques and work on the self. This hypothesis seems to be supported
also by the fact that, in the transition from performance to writing,
evidence of the convergence between these two branches of tradition
is documented in the production of devotional pamphlets for popular
consumption.