Paolo Poli

For about seventy years, Paolo Poli enjoyed a special position in the Italian theatrical scene. Creator of an irreverent, unconventional theatre based on a verbal, mimic, and gestural lightness, he set up an original comic dramaturgy able to make everything ‘theatrical’ or potentially ‘theatrical’: poetry and history, hagiography and fairytale, and even the popular song repertoire of the early 20th century. Actor, dramatist, singer, dancer, director, impresario, theatrical company director, the Florentine Paolo Poli successfully revived a minor literary and musical production neglected by the official culture. Gifted with a polyphonic voice and a swift gestural expressiveness, in addition to theatre he devoted himself to radio, television, and record activities

«A li occhi miei ricominciò diletto» : Il Purgatorio di Dante nella regia di Federico Tiezzi (2021)

Il saggio ricostruisce la regia di Federico Tiezzi per il secondo allestimento (2021) de Il Purgatorio. La notte lava la mente, su drammaturgia di Mario Luzi. L'analisi dello spettacolo, immerso nella straniante condizione dell'attesa e in una particolare dulcedo atmosferica e psicologica, offre l'occasione per esaminare la scrittura scenica del regista toscano e per ingrandire il lavoro d'attore di Sandro Lombardi, fondato in modo speciale sull'universo poetico di Dante.L'assaig reconstrueix la direcció de Federico Tiezzi per a la segona producció (2021) d'Il Purgatorio. La nit renta la ment, sobre dramatúrgia de Mario Luzi. L'anàlisi de l'espectacle, immers en la condició alienant de l'espera i en un dolç atmosfèric particular i psicològic, ofereix l'oportunitat d'examinar l'escriptura escènica del director toscà i per ampliar l'obra de l'actor de Sandro Lombardi, fundada d'una manera especial en l'univers poètic de DanteThe essay reconstructs the direction of Federico Tiezzi for the second production (2021) of Il Purgatorio. The night washes the mind, on dramaturgy by Mario Luzi. The analysis of the show, immersed in the alienating condition of waiting and in a particular atmospheric dulcedo and psychological, offers the opportunity to examine the scenic writing of the Tuscan director and for enlarge the actor's work of Sandro Lombardi, founded in a special way on the universe Dante's poem.El ensayo reconstruye la dirección de Federico Tiezzi para la segunda producción (2021) de Il Purgatorio. La noche lava la mente, sobre dramaturgia de Mario Luzi. El análisis del espectáculo, inmersos en la alienante condición de la espera y en un particular dulcedo atmosférico y psicológica, ofrece la oportunidad de adentrarse en la escritura escénica del director toscano y para ampliar la obra actoral de Sandro Lombardi, fundada de manera especial en el universo poético de Dante.L'essai reconstitue la mise en scène de Federico Tiezzi pour la deuxième production (2021) d'Il Purgatorio. La nuit lave l'esprit, sur une dramaturgie de Mario Luzi. L'analyse du spectacle, plongé dans la condition aliénante de l'attente et dans un dulcedo atmosphérique particulier et psychologique, offre l'opportunité d'examiner l'écriture scénique du metteur en scène toscan et pour agrandir le travail d'acteur de Sandro Lombardi, fondé de manière particulière sur l'univers Poètique de Dante

Eleonora Duse. Nuovi frammenti autografi di un lungo percorso teatrale

This essay offers the reading of several Eleonora Duse’s unpublished works, written during a period of time between 1883 and 1921. In these writings a variously assorted network of correspondents (playwrighters, journalists, actors and antiquarians) meets. The autographs (most of them addressed to Achille Torelli) enrich the sources about the study of the actress. In each of them, the personal life of Eleonora Duse intersects with the theatrical profession until her biography merges with her, never satisfied, projects

Chapter L’ombra di Don Juan Tenorio sulla scena barocca partenopea: indizi d’archivio e canoni drammaturgici

This paper highlights archival evidence and dramaturgic mythemes in order to reconsider the historiographical issues related to the XVIIth-century theatrical reception of El burlador de Sevilla y convidado de piedra outside of Spain. Among the crossroads of theatrical practices alive in XVIIth-century Naples, Don Juan underwent a rapid process of assimilation and transformation. The chronology of its Neapolitan debut at the Teatro di San Bartolomeo is re-examined in this paper, while unfolding some new and possible scenarios interweaving history and dramaturgy, the stage and the historical political events of the Kingdom of Naples during the first decades of the XVIIth century. This study examines the Mediterranean basis consolidating the myth of Don Juan – the character with «feet made of wind» (Garboli) – and defining its dramaturgic status all around Europe

Animated Pulpits: On Performative Preaching in Seventeenth-Century Naples

The article foregrounds a number of cases of performative preaching in Naples under Spanish rule with particular attention to the specific form of competition between preachers and professional actors. In the churches and streets of the city, preaching was ever present, nourished by a mix of theatre and sacred oratory, a near realisation of the concept of théâtre sur le théâtre. Examples of this phenomenon are to be found in the cultural transformation of certain actors and impresarios into hypocritical, bigoted preachers and the dazzling voice of Giacomo Lubrano, the Jesuit poet, who created the rhetorical machinery of Neapolitan-style preaching

Animated Pulpits: On Performative Preaching in Seventeenth-Century Naples

The article foregrounds a number of cases of performative preaching in Naples under Spanish rule with particular attention to the specific form of competition between preachers and professional actors. In the churches and streets of the city, preaching was ever present, nourished by a mix of theatre and sacred oratory, a near realisation of the concept of théâtre sur le théâtre. Examples of this phenomenon are to be found in the cultural transformation of certain actors and impresarios into hypocritical, bigoted preachers and the dazzling voice of Giacomo Lubrano, the Jesuit poet, who created the rhetorical machinery of Neapolitan-style preaching

Un occhio indietro e uno avanti: Petrolini, la commedia dell’Arte e la macchina da presa

Il contributo verte sul rapporto fra Ettore Petrolini e la maschera di Pulcinella, ossia sul recupero delle prassi della Commedia dell’Arte da parte del grande comico romano e sulle modalità di inveramento attorico di tale tradizione, con particolare riguardo al medium cinematografico e al Nerone (1930) di Blasetti. La pellicola Cines, prodotto di lancio delle meraviglie del sonoro, altro non è che un surrogato del teatro, il calco di gesso del multiforme mondo artistico dell’attore, la sinopia rispetto all’affresco policromo e vivente del palcoscenico. Attraverso l’analisi di due inediti copioni e attraverso lo studio delle testimonianze sulla diffusione ottocentesca della farsa Pulcinella guardiano di donne, si esaminano i ripetuti incontri teatrali tra Petrolini e la maschera partenopea e se ne analizza il rilancio in formato filmico