Papers by CATERINA BARONE
Gli oggetti sulla scena teatrale ateniese. Funzione rappresentazione comunicazione. a cura di A. Coppola, C. Barone, M. Salvadori, 2016
In an evocative art form like Greek theatre, ruled by the power of words, the very few props empl... more In an evocative art form like Greek theatre, ruled by the power of words, the very few props employed never have an ornamental function, but are instead strictly functional to the delineation of character and the development of the plot. Within the wide range of examples presented in the surviving tragedies, we will focus our inquiry on two containers with a common function in Sophocles’s works: the casket in Trachiniae and the urn in Sophocles’s Electra. These are both instrumental for a deathly outcome, and thus play a strategic role for the unfolding of the drama.
The most interesting aspect is here however to stress the function that both these objects of inconspicuous size play in expanding the action and projecting it in extrascenic space and time: they create the complex dramaturgical effect of a widening of the scene which is typical of the anti-realistic and conventional system of Greek theatre.
In 1938 Gaetano De Sanctis wrote a novel, Andromache, in which he created an unusual portrayal of... more In 1938 Gaetano De Sanctis wrote a novel, Andromache, in which he created an unusual portrayal of the Trojan heroine. A slave to Neoptolemus in Phthia, after several vicissitudes Hector's wife becomes a queen and a warrior, and she eventually sacrifices her life for her adoptive city.
Resumo | A máscara é componente fundamental do teatro grego clássico. Plena de valores e signific... more Resumo | A máscara é componente fundamental do teatro grego clássico. Plena de valores e significados, foi continuadamente reinterpretada e recriada para a cena contemporânea por vários encenadores, para tragédias e comédias. A análise de algumas produções teatrais modernas evidencia métodos de pesquisa e de realizações que alcançam resultados bastante diferenciados.
Il Volume è stato realizzato nell'ambito del progetto MArS. Mito, Arte, Società. Padova centro di... more Il Volume è stato realizzato nell'ambito del progetto MArS. Mito, Arte, Società. Padova centro di eccellenza per lo studio del linguaggio delle immagini nel mondo antico, sostenuto dalla Fondazione Cassa di Risparmio di Padova e Rovigo che lo ha selezionato tra i migliori progetti di ricerca presentati nell'edizione
| La maschera è componente fondamentale del teatro greco classico. Carica di valori e di signific... more | La maschera è componente fondamentale del teatro greco classico. Carica di valori e di significati, viene riproposta dai registi sulla scena contemporanea in varie forme e interpretazioni nell'allestimento sia di tragedie che di commedie di drammaturgia antica. L'esame di alcune produzioni teatrali moderne evidenzia metodi di ricerca e di realizzazione che portano a esiti molto diversi tra loro. Parole chiave | maschera | teatro greco | tragedia| commedia Abstract | The mask is a key feature of classical Greek theatre. Being value-and meaning-laden, it has been continuously re-interpreted and re-created by a number stage directors, both in tragedies and comedies. An examination of some modern theatrical productions reveals research and staging methods leading to a great variety of results.
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Papers by CATERINA BARONE
The most interesting aspect is here however to stress the function that both these objects of inconspicuous size play in expanding the action and projecting it in extrascenic space and time: they create the complex dramaturgical effect of a widening of the scene which is typical of the anti-realistic and conventional system of Greek theatre.
The most interesting aspect is here however to stress the function that both these objects of inconspicuous size play in expanding the action and projecting it in extrascenic space and time: they create the complex dramaturgical effect of a widening of the scene which is typical of the anti-realistic and conventional system of Greek theatre.