Mirandolina va in barriera

Journal of Jesuit Studies, 2016

Italica, 1978

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Maria Pia Pagani is Regional Managing Editor for Italy in the international project "The Theatre Times" (TTT). Article posted on 2nd October 2021, in «The Theatre Times», Section “Festivals, Interview, Italy”. http://www.thetheatretimes.com/

The essay describes the site-specific performance Corpus_Deposizioni e Visitazioni (Corpus_Depositions and Visitations), nine choreographic actions for thirty-eight performers (four dancers, among whom one blind; thrity-two non-professional dancers; and two musicians), choreographed by Virgilio Sieni and performed on April 12, 2014. The performance developed within the space of the exhibition Pontormo e Rosso Fiorentino - Differenti vie della maniera (Diverging paths of mannerism), curated by Carlo Falciani and Antonio Natali at Palazzo Strozzi, in Florence, Italy (March 8 – July 20, 2014.) In his choreographed transposition, Sieni composes an atlas inhabited by bodies, open to the fragility of the living things; it strictly relates to the remains of a gesture, and to the personal and social memory of a figure. In this performative environment, loss is conceived as a more acute presence. Sieni’s immemorially atlas resonates with the experience of the remote; it develops through a practice intended as an ongoing opening to an unexhausted, tangible presence (with fingertips as a performative marker.) In Corpus, the exhibition setting and the displayed fragility of the living bodies decenter the spectator’s eye. In fact, on the one hand, Mannerism is transposed onto and synchronized with the present. On the other hand, the Passion (a central Mannerist theme) and the sacrificial body of Christ (as performance of the end of humanity) are presented as ultimate questions, projected with the rhetorical force of a prayer – questions that look for creative, open, compassionate answers.

Midwest Modern Language Association, Chicago, Illinois, 5 November 2010.

Session A 1. Teatralizzazione di un romanzo: i costumi di scena degli Indifferenti di Moravia Chiara De Santi, SUNY Fredonia 2. Pasolini e lo strappo nella coscienza dello spettatore Fulvio Orsitto, California State Univerisity-Chico 3. Lina Wertmüller regista-burattinaia Federico Pacchioni, University of Connecticut-Storrs Session B 4. Manzoni’s Count of Carmagnola and Kleist’s Prince of Homburg: History between Fiction and Factuality Maria Giulia Carone, University of Wisconsin-Madison 5. Teatro e teatralità nella poesia del primo Palazzeschi Daniele Fioretti, University of Wisconsin Madison 6. Mario Luzi’s Plays: A Plurality of Voices Ernesto Livorni, University of Wisconsin-Madison Session C 7. Distinctive Nature of Masques of Commedia dell’Arte in their Relationship with Food in 18th Century Paola Monte, Royal Holloway, University of London 8. Arlecchino is Lying: Deconstructing Goldoni’s II bugiardo Stefano Boselli, Gettysburg College 9. The Spectator in Dario Fo’s Performances: From the Foyer to the Post-Performance Debates Marco Valleriani, Royal Holloway, University of London

Bulletin of the Comediantes, 2018

Teatru Astra and Midsea Books, 2022

It is quite captivating to encounter Maltese masters of Modern art challenging their contemporary epoch not only through a narrow definition of art but also through the exploring of spheres that are rather unexpected. That artists did and still do participate in theatre productions is a well-known fact, (as Emvin Cremona's stage designs for Carmelo Pace’s 1960 L' araldo di Cristo), but that artists are themselves consolidating the very idea of a specific theatre language is quite a different matter. The Astra, under the artistic direction of Portelli, and the Aurora, under that of Cremona yet on a different level of involvement, are fifty metres away from each other is quite a feat. One looking at the stars (Astra) above, the other at their dawn-refraction (Aurora). [68-82]

The paper focuses on the solo-performance "An Ordinary Day of the Dancer Gregorio Samsa" created by Eugenio Barba, Julia Varley and Lorenzo Gleijeses and performed since 2016. The pièce, which sees Gleijeses on stage as a solo performer, has followed an intense process of development over five years, through numerous rewriting processes. Partially inspired by Kafka’s "Metamorphosis", the performance deals with the difficult relationship between a young artist and his main reference figures (a demanding father, an authoritarian theatre director, a worried partner, a schematic psychologist). On stage, the actor’s score develops around an obsessive repetition of movements and actions, performed with modulation of intensity and rhythm. From the circularity of the theatrical repetitions, however, the work of the actor creates a more linear, perhaps vertical, path, which aims at self-purification through exhausting effort, at the precision of craftsmanship, and which, in the finale, questions the possibility of transcendence in the incompleteness of the artistic creation. The inexhaustible and essential search for a performative work based on the organic nature of the actor-dancer, explored as the quintessence of human existence, is therefore both a ‘condemnation’ and a possibility of elevation offered by the theatre performance. Sorrounded by a refined lighting and sound apparatus, the actor-dancer acts in a multi-sensorial context within which a new poetics of space unravels. Reflecting upon these elements, the paper intends to offer a reconstruction of the genesis and creative process of the performance, also comparing it with some of Barba’s previous works and theatrical thought.