Aspettando Godot e la cosmogonia teatrale di Carlo Quartucci

The essay analyzes the theatrical cosmogony of Carlo Quartucci and the Compagnia della Ripresa, built around the understanding of Samuel Beckett's dramaturgy with a primary focus on Waiting for Godot (The three first performances, 1959 - Teatro Brancaccio, Compagnia universitaria Latino- Metronio; 1964 - Teatro Stabile di Genova, Compagnia del Teatro Studio; 1965 - Festival di S. Beckett, Prima Porta Roma, Compagnia della Ripresa – Teatro Mobile). Furthermore, with the aid of unpublished interviews with Carlo Quartucci and Carla Tatò, Cosimo Cinieri and Emiliano Tolve, this study digs deeper inside the lesser known influences on Quartuccis's poetic such as the study of texts on figure and form by the art historian Carlo Lodovico Ragghianti and the "conceptual" work in the studio with the photographer Lisetta Carmi and his ideal and posthumous relationship with conceptual artist Marcel Broodthaer

Cosimo Cinieri: rappresentazione di Cristo al CEP di Bari 1977

This essay analyses Cristo al CEP of Cosimo Cinieri, a representation of the Passion of Christ along the streets of the popular neighborhood of San Paolo di Bari characterized by public housing (CEP), on Palm Sunday of 3 April 1977. Cinieri, active with the Communist Party in the Seventies and returning from the experience of Marigliano with Leo and Perla, experiments his personal hybridization with the “popular”: Cristo al CEP was a scenic action aimed at involving the residents of the CEP “to live a live experience and not only live life through television”

«Una realtà di puri echi»: simbolo e comunione in Pirandello, chi? di Amelio Memè Perlini

The direction of theatre of the 1970s, as Valentina Valentini writes, characterized New Theatre in Italy with its tendency to expand beyond geographic and disciplinary borders and, at the same time, with its tension towards a common core (body, gesture, movement) to «find shelter in the place of theatre like in the productions of TeatroImmagine (as defined by Bartolucci) by Mario Ricci, Memè Perlini, Giancarlo Nanni, Giuliano Vasilicò». Memè Perlini’s work on Pirandello’s play was in fact a process of permeation, in the Latin sense of per- «through» and meare «transit». Six Characters in Search of an Author by Pirandello represented a double enlightenment for him: one that could be termed public, concerning his way of understanding the stage, the other inherent to a personal and collective unhappiness that «filled his days and nights» and which he wove into the writing of Pirandello chi?, staged for the first time in 1973, as mentioned above, at Beat ’72 in Rome. Perlini transposed the fragmentary nature typical of society at that time into what he defined as fragment-images, aimed at reducing the body of the actor on stage into sections of light and darkness, in the idiosyncratic drive to «parcel, shatter theatrical objects (fear of the body) but also a clear attempt to reconstruct them (desire to represent)»

Aspettando Godot e la cosmogonia teatrale di Carlo Quartucci

The essay analyses the theatrical cosmogony of Carlo Quartucci and the Compagnia della Ripresa, built around the understanding of Samuel Beckett’s dramaturgy with a primary focus on Waiting for Godot (The three first performances, 1959 - Teatro Brancaccio, Compagnia universitaria Latino-Metronio; 1964 – Teatro Stabile di Genova, Compagnia del Teatro Studio; 1965 – Festival di S. Beckett, Prima Porta Roma, Compagnia della Ripresa – Teatro Mobile). Furthermore, with the aid of unpublished interviews with Carlo Quartucci and Carla Tatò, Cosimo Cinieri and Emiliano Tolve, this study digs deeper inside the lesser known influen- ces on Quartuccis’s poetic such as the study of texts on figure and form by the art historian Carlo Lodovico Ragghianti and the “conceptual” work in the studio with the photographer Lisetta Carmi and his ideal and posthumous relationship with conceptual artist Marcel Brodhears.

Gerardo Guerrieri. Gli esordi al Teatro dell'Università di Roma 1940-1956

Gli esordi alla regia di Gerardo Guerrieri, Teatro dell'Università di Roma nei GUF romani

Eduardo De Filippo, lezioni di teatro all'Università Sapienza di Roma

Eduardo De Filippo al principio degli anni '80 fu invitato da Ferruccio Marotti a tenere delle lezioni di drammaturgia agli studenti della Sapienza. Negli ultmini quattro anni della sua vita Eduardo tramanda la sua conoscenza antica, racconta episodi personali, svolge degli incontri con Carmelo Bene e infine traduce e recita La Tempesta di Shakespeare in napoletano antico

Gerardo Guerrieri, gli esordi al Teatro dell'Università di Roma 1940-1956

Gli esordi teatrali universitari di Gerardo Guerrier