Papers by Mariacristina Cavecchi
Introduction to Altre modernità 2017 special number: https://riviste.unimi.it/index.php/AMonline
... more Introduction to Altre modernità 2017 special number: https://riviste.unimi.it/index.php/AMonline
The 400th anniversary of William Shakespeare’s death offered an opportunity to scholars and practitioners all over the world to re-appraise and re-imagine his extraordinary vitality and legacy in contemporary culture. The Department of Modern Languages and Literatures at the University of Milan contributed to these worldwide events with a festival and an international conference, entitled Shakespeare 400 – Will forever young!, whose proceedings are presented in this special issue.
Through a series of case studies, we hope to make a contribution to the critical analysis of the ways contemporary theatre, film, literature, rock music and so on appropriates, challenges and confirms the Elizabethan playwright’s cultural authority. We also address, through the appropriations of Shakespeare, the ethical, social and political responsibilities we have as scholars, teachers and citizens.
Shakespeare is a pivotal and much staged playwright among theatrical companies of convicts in Ita... more Shakespeare is a pivotal and much staged playwright among theatrical companies of convicts in Italy, even though the practice of theatre in prison in Italy has a much shorter tradition than in the Anglo-Saxon world. Among the many Shakespearean plays, The Tempest is a favourite, being obviously able to shine a new light on those themes of revenge, freedom and forgiveness that are central issues in a detention context. Undeniably, in Italy, productions of The Tempest in prison have deeply instilled new life in the staging of the Elizabethan playwright. The list includes different kinds of experiences ranging from drama therapy, where the process towards rehabilitation and reintegration is more important than the finished aesthetic product, to productions by theatre directors who are primarily concerned with the artistic medium of the theatre and its aesthetic qualities. A survey of Shakespeare theatrical practice in Italian prisons can help investigate and understand not only the aesthetic but also the political, social and economic consequences of the function of prison nowadays, and should be the first step towards an analysis of Shakespeare practice in Italian prisons in a broader context. By comparison with other European countries, we may also discover that some Italian experiences, such as Fabio Cavalli’s work in Rome’s Rebibbia prison, or Armando Punzo’s with the “Company of the Fortress” in Volterra are unique and that they should deserve more attention.
I would like to propose a possible new methodology for approaching the study of Shakespeare throu... more I would like to propose a possible new methodology for approaching the study of Shakespeare through the analysis of verbal and visual quotations from his plays in graffiti and street art – two relatively new but important cultural phenomena. Poetic, quotidian or coarse, subversive or commodified, but always engaging, graffiti and post graffiti art have set up a dialogue with Shakespeare in various ways to the point one may “fantasize” (just to quote Burt in his preface to Shakespeares after Shakespeare) about an archive that would include Shakespeare-related-graffiti and post-graffiti and could contribute to the investigation of the Elizabethan playwright in a mediatized world.
Questo saggio si propone di riaprire l’annosa questione dell’ut pictura poesis oraziano nel teatr... more Questo saggio si propone di riaprire l’annosa questione dell’ut pictura poesis oraziano nel teatro inglese moderno a partire da testi quali After Magritte e Artist Descending a Staircase di Tom Stoppard e A Question
of Attribution di Alan Bennett, che proprio dall’incontro con le arti figurative traggono lo spunto per la formulazione e l’elaborazione di una propria poetica. Costruiti intorno a tre dipinti “enigmatici” della storia
dell’arte, questi tre testi costituiscono infatti un campo d’indagine ideale per analizzare in modo trasversale i rapporti tra codici visivi e verbali. L’indagine sembra così offrire l’occasione per affinare strumenti critici in
grado di rendere conto dei vari possibili “incroci” tra parola e immagine, teatro e arti figurative.
Me, poor man, mv libran' Was dukedom large enough: of temporal royalties He thinks me now incapab... more Me, poor man, mv libran' Was dukedom large enough: of temporal royalties He thinks me now incapable . . . (The Tempest, Our project is concerned u'ith the cultural "appropriation" of the Shakespearean canon as an asencv through which culture generates meaning.r We assume that $'orkine on Shakespeare through cinema "allows us to put this haditionally sanctioned body of writing into provoking new relations with contemporarv fechnology" (Wheale, "scratching" 205).
A heap of huge polystyrene letters that in a liberating outburst actors and spectators throw into... more A heap of huge polystyrene letters that in a liberating outburst actors and spectators throw into the air, pages of books and paintings reproduced on huge panels, an old typewriter used by Mercutio to re-write his story, a suitcase containing ‘a tear shed for some personal pain’ in the hands of a man who asks to be remembered, a pyramid of skulls and a child’s bed are just a few of the numerous objects imagined by Armando Punzo, director of the Compagnia della Fortezza of Volterra, for his compelling Shakespeare productions. This essay analyses Punzo’s poetics of objects in his "Hamlice – Saggio sulla fine di una civiltà" (2010) and
"Mercuzio non vuole morire – La vera tragedia in Romeo e Giulietta" (2012).
From Tom Stoppard's play "After Magritte" of the early 1970s to the current "England: A Play for ... more From Tom Stoppard's play "After Magritte" of the early 1970s to the current "England: A Play for Galleries" by Tim Crouch, British playwrights of the last thirty years have often turned their attention to existing collections, museal
spaces or curatorship. This paper analyses several plays which explore the world of contemporary British art galleries after the sudden success of the Young British Artists and will reflect on the cultural and political role of galleries in contemporary culture and in British drama in particular. On the one hand, the playwrights put on stage galleries, such as in Jay Jopling's "White
Cube"; on the other hand, the drama moves directly into the gallery. This is the case of "England: A Play for Galleries", a piece of site-specific theatre which opened in 2007 at Edinburgh's Fruitmarket Gallery and moved to London's Whitechapel Gallery. In the work, the author, Tim Crouch, places the dynamics
of visual art and theatre against each other, questions the spatial position and perspective of audience members and performers, offering dialogues with elements of the past, present and future, and thus contributing to a fresh
understanding of the nature and role of the gallery.
Books by Mariacristina Cavecchi
A cura di Mariacristina Cavecchi e Margaret Rose
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Papers by Mariacristina Cavecchi
The 400th anniversary of William Shakespeare’s death offered an opportunity to scholars and practitioners all over the world to re-appraise and re-imagine his extraordinary vitality and legacy in contemporary culture. The Department of Modern Languages and Literatures at the University of Milan contributed to these worldwide events with a festival and an international conference, entitled Shakespeare 400 – Will forever young!, whose proceedings are presented in this special issue.
Through a series of case studies, we hope to make a contribution to the critical analysis of the ways contemporary theatre, film, literature, rock music and so on appropriates, challenges and confirms the Elizabethan playwright’s cultural authority. We also address, through the appropriations of Shakespeare, the ethical, social and political responsibilities we have as scholars, teachers and citizens.
of Attribution di Alan Bennett, che proprio dall’incontro con le arti figurative traggono lo spunto per la formulazione e l’elaborazione di una propria poetica. Costruiti intorno a tre dipinti “enigmatici” della storia
dell’arte, questi tre testi costituiscono infatti un campo d’indagine ideale per analizzare in modo trasversale i rapporti tra codici visivi e verbali. L’indagine sembra così offrire l’occasione per affinare strumenti critici in
grado di rendere conto dei vari possibili “incroci” tra parola e immagine, teatro e arti figurative.
"Mercuzio non vuole morire – La vera tragedia in Romeo e Giulietta" (2012).
spaces or curatorship. This paper analyses several plays which explore the world of contemporary British art galleries after the sudden success of the Young British Artists and will reflect on the cultural and political role of galleries in contemporary culture and in British drama in particular. On the one hand, the playwrights put on stage galleries, such as in Jay Jopling's "White
Cube"; on the other hand, the drama moves directly into the gallery. This is the case of "England: A Play for Galleries", a piece of site-specific theatre which opened in 2007 at Edinburgh's Fruitmarket Gallery and moved to London's Whitechapel Gallery. In the work, the author, Tim Crouch, places the dynamics
of visual art and theatre against each other, questions the spatial position and perspective of audience members and performers, offering dialogues with elements of the past, present and future, and thus contributing to a fresh
understanding of the nature and role of the gallery.
Books by Mariacristina Cavecchi
The 400th anniversary of William Shakespeare’s death offered an opportunity to scholars and practitioners all over the world to re-appraise and re-imagine his extraordinary vitality and legacy in contemporary culture. The Department of Modern Languages and Literatures at the University of Milan contributed to these worldwide events with a festival and an international conference, entitled Shakespeare 400 – Will forever young!, whose proceedings are presented in this special issue.
Through a series of case studies, we hope to make a contribution to the critical analysis of the ways contemporary theatre, film, literature, rock music and so on appropriates, challenges and confirms the Elizabethan playwright’s cultural authority. We also address, through the appropriations of Shakespeare, the ethical, social and political responsibilities we have as scholars, teachers and citizens.
of Attribution di Alan Bennett, che proprio dall’incontro con le arti figurative traggono lo spunto per la formulazione e l’elaborazione di una propria poetica. Costruiti intorno a tre dipinti “enigmatici” della storia
dell’arte, questi tre testi costituiscono infatti un campo d’indagine ideale per analizzare in modo trasversale i rapporti tra codici visivi e verbali. L’indagine sembra così offrire l’occasione per affinare strumenti critici in
grado di rendere conto dei vari possibili “incroci” tra parola e immagine, teatro e arti figurative.
"Mercuzio non vuole morire – La vera tragedia in Romeo e Giulietta" (2012).
spaces or curatorship. This paper analyses several plays which explore the world of contemporary British art galleries after the sudden success of the Young British Artists and will reflect on the cultural and political role of galleries in contemporary culture and in British drama in particular. On the one hand, the playwrights put on stage galleries, such as in Jay Jopling's "White
Cube"; on the other hand, the drama moves directly into the gallery. This is the case of "England: A Play for Galleries", a piece of site-specific theatre which opened in 2007 at Edinburgh's Fruitmarket Gallery and moved to London's Whitechapel Gallery. In the work, the author, Tim Crouch, places the dynamics
of visual art and theatre against each other, questions the spatial position and perspective of audience members and performers, offering dialogues with elements of the past, present and future, and thus contributing to a fresh
understanding of the nature and role of the gallery.