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Journal articles on the topic 'Italian language Drama'
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Kanev, A. I. "HANDEL's OPERAS: LITERARY SOURCES, STRUCTURE, LIBRETTO LANGUAGE." Bulletin of Udmurt University. Series History and Philology 29, no. 3 (June 25, 2019): 517–23. http://dx.doi.org/10.35634/2412-9534-2019-29-3-517-523.
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This article studies thirteen Italian libretti of music dramas that were staged with Handel's music in the first half of the XVIII century. The libretti texts were written by a range of authors such as N. F. Haym, A. Salvi, P. Rolli, A. Zeno, V. Grimani, A. Hill, G. Rossi, N. Minato, A. Piovene. The majority of stories are based on famous Italian and French literary pieces. The article looks at literary and linguistic aspects of libretti. The literary components are the problem of primary sources, plot features and their transformations, drama structure and texts form. The linguistic components are rare verb forms, syntactical and lexical features of libretti. Attention is paid to the sound organisation of the texts - euphonia. Examples are drawn of the usage of alliteration and assonance.
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Piazzoli, Erika. "Engage or Entertain? The Nature of Teacher/Participant Collaboration in Process Drama for Additional Language Teaching." Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 2 (July 1, 2012): 28–46. http://dx.doi.org/10.33178/scenario.6.2.5.
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This paper was presented at the conference ‘Plot me no plots: Theatre for University Language teaching’ held at the University of Padua in October 2011. The presentation included a practical demonstration of the teacher-in-role strategy and a discussion. Process drama is an experiential approach that has been gaining momentum in the field of language teaching; it is a genre of applied theatre in which the participants, together with the facilitator, engage in the co-construction of a story. As an improvised dramatic form, it encourages negotiation of meaning through the process of experience and reflection. In this article, I reflect on the nature of the collaborative process between teacher and participants in process drama, drawing on my doctoral research on the aesthetics of process drama for teaching additional languages. In this research, I worked with three cohorts of adult language learners, studying Italian as a Second Language (L2), and three cohorts of teachers of Italian (L2) new to drama. I draw on classroom data to illustrate two of the main dramatic strategies of the form: ‘teacher-in-role’ and ‘mantle of the expert’. I introduce these strategies, situate them in a theoretical context and discuss issues and implications when teaching to engage, rather than to entertain.
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Piazzoli, Erika, and Claire Kennedy. "Drama: Threat or Opportunity? Managing the ‘Dual Affect’ in Process Drama." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 1 (January 1, 2014): 52–68. http://dx.doi.org/10.33178/scenario.8.1.5.
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In this paper we discuss the construct of ‘dual affect’ and its relevance to drama pedagogy in a foreign language teaching context. We draw on a research project involving a group of advanced learners of Italian using drama-based strategies. We begin with a theoretical discussion of dual affect, aesthetic distance, and protection mechanisms in the drama/language classroom. Next, we contextualise the research study and analyse student-participants’ responses in selected moments of the drama. The analysis suggests that, while some student-participants experienced the dual affect of drama as a threat, others found it a stimulus for reflection and a challenge. We argue that this may have had an impact on their perceived learning outcomes and on their willingness to communicate in the target language. We take this opportunity to reflect on the importance of managing dual affect in the process drama classroom, especially when working with advanced language students who have no prior experience in drama-based pedagogy.
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Fonio, Filippo, and Geneviève Genicot. "The compatibility of drama language teaching and CEFR objectives – observations on a rationale for an artistic approach to foreign language teaching at an academic level." Scenario: A Journal of Performative Teaching, Learning, Research V, no. 2 (July 1, 2011): 75–89. http://dx.doi.org/10.33178/scenario.5.2.6.
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The elaboration of the rationale proposed here finds its roots in an examination of the CEFR (Common European Framework of Reference for Languages) parameters. We are notably interested in highlighting the importance of artistic practice – and in particular of drama performance – in the context of foreign language learning. We are thus proposing here considerations concerned with the estimation of artistic practice as a specific way of teaching and learning foreign languages. Our usual target group consists of Bachelor and Master students interested in learning Italian through drama techniques but whose subject is not primarily Modern Languages (non-specialist students). By proposing a set of standard skills that match CEFR parameters with artistic pedagogy training, we intend to promote valuable criteria for teachers, learners and examiners in order to promote language learning through artistic practice syllabi.
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De Martino, Alessandra. "DIDATTICA TEATRALE E APPRENDIMENTO DELL'ITALIANO COME LINGUA STRANIERA." Revista Internacional de Culturas y Literaturas 19, no. 19 (2016): 237–48. http://dx.doi.org/10.12795/ricl.2016.i19.20.
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Dalziel, Fiona, and Erika Piazzoli. "“It comes from you”: Agency in adult asylum seekers’ language learning through Process Drama." Language Learning in Higher Education 9, no. 1 (July 26, 2019): 7–32. http://dx.doi.org/10.1515/cercles-2019-0001.
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Abstract In this paper, we present a study of adult asylum seekers learning Italian as a Second Language through Process Drama. Adopting an ecology of language approach, we first set the scene by examining some of the most salient issues regarding the language learning needs of asylum seekers and refugees, including the challenge of fostering both language proficiency and a sense of autonomy and agency. We then introduce the topic of performative, or drama-based pedagogy, focussing on how this has been adopted for second-language learning, presenting the main features of Process Drama. We go on to evaluate a number of drama-based projects aimed specifically at adult asylum seekers and refugees before presenting the specific context of this study. The Process Drama sessions, organised in the 2016/2107 year, were part of a project called “Cultura e Accoglienza”, which allowed for the enrolment of 30 asylum seekers as “guest students” at the University of Padova in Northern Italy. In particular, we look at one of the Process Drama sessions, in which the participants became members of an association of community workers welcoming migrants, and the teacher took on the role of the asylum seeker. Through the dramatic frame, we, as facilitators, drew on the learners’ expertise in settling into the Italian culture, and in welcoming new arrivals. Our aim was that of using ‘time’, ‘place’ and ‘role reversal’ as distancing devices to challenge the notion of ‘otherness’. The analysis from videos, focus groups and teacher journals suggests that the drama gave participants the chance to shift perspective, and that this impacted on their sense of agency as second language learners.
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Jordan, Peter E. R. "Second Language Acquisition And Linguistic Freedom Through Drama." English Review: Journal of English Education 4, no. 1 (December 1, 2015): 15. http://dx.doi.org/10.25134/erjee.v4i1.312.
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The important part played by drama in second language acquisition has long been appreciated. An active and inter-active teaching environment facilitates learning in a number of ways, by motivating and sustaining attention, as well as offering a secure environment for experimentation. Drama offers students a pro-active approach to learning, promoting a collective feeling of being in a shared enterprise. This paper discusses how drama can make a significant contribution to second language acquisition. In particular, I focus on the techniques of the Italian Commedia dell’Arte, the first truly professional theatre form to emerge in Europe in the mid-sixteenth century. Its core elements of improvisation and mask are highly effective tools in language learning, empowering students and allowing them to take ownership of the unfamiliar. Improvisation provides a dramatically engaging forum for experimentation that can help to overcome cognitive blocks and prioritise communication as the ultimate imperative. Masks which leave the mouth free for speech can help students overcome the natural inhibitions that often come with attempts to express oneself in an unfamiliar linguistic code.Keywords: language acquisition, drama, improvisation, mask
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Troiani, Sara. "Ettore Romagnoli traduttore delle Baccanti." Greek and Roman Musical Studies 10, no. 1 (March 7, 2022): 189–216. http://dx.doi.org/10.1163/22129758-bja10037.
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Abstract At the beginning of the Twentieth Century the Italian philologist Ettore Romagnoli popularised ancient classical culture through his work as translator and director of performances of Greek and Roman dramas. In his plays he attempted to reproduce the unity of the arts that belonged to the mousikē technē and to achieve a modern recreation of ancient sounds and rhythms. The paper aims to analyse the translation of Euripides’ Bacchae by Romagnoli (1912), comparing it with his studies on Greek music and tragedy and with operas. On the one hand, Romagnoli’s translation in Italian verses is based on the musicological theories about the close relationship between music and metrics in ancient Greek poetry; on the other, the adoption of operatic language to translate specific lines of Euripides’ drama is probably oriented to the Italian audience, which would have recognised conventional expressions from the libretti or from famous arias.
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Piazzoli, Erika C. "Reflection-in-action in cross-language qualitative research." Qualitative Research Journal 15, no. 1 (February 2, 2015): 74–85. http://dx.doi.org/10.1108/qrj-10-2013-0059.
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Purpose – The purpose of this paper is to reflect on reflective practice as a qualitative methodology, and reflection-in-action as a modus operandi to engage with the artistry of cross-language qualitative research. Design/methodology/approach – The author draws on the doctoral research, a cross-language multiple case study aimed at investigating the author’s evolving understanding, as a reflective practitioner, of drama-based pedagogy for teaching Italian as a second language. Findings – A reflective analysis of the author’s tacit decision making during drama improvisation unveiled a clash between covert beliefs and overt attitudes in the author’s practice. In this paper, the author examine this process and highlight the value of translingual writing (writing in two languages) as a method of enquiry that allowed me to become aware of this clash. Research limitations/implications – A limitation of this research is that the nature of this clash of beliefs is confined to the idiosyncrasy of one practitioner. However, the methodological implications are relevant to cross-language qualitative researchers fluent in two (or more) languages. Frequently, translingual researchers focus all writing efforts in one language only, because of the absence of methodological guidelines bridging cross-language research, reflective practice and translingual studies. Practical implications – Strategies to investigate awareness of tacit beliefs in educational practice may help other second language/drama reflective practitioners to better understand their knowing in-action. Originality/value – This paper represents a first step in disseminating knowledge about translingual writing as method, and is of value to all those translingual researchers who are interested in reflective methodologies.
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Bora, Simona Floare. "Exploring learners’ perceptions towards collaborative work through drama in foreign language learning: A view from a mandatory Italian high-school curriculum." Scenario: A Journal for Performative Teaching, Learning, Research XIII, no. 2 (December 10, 2019): 171–86. http://dx.doi.org/10.33178/scenario.13.2.11.
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This article focuses on learners’ perceptions related to the collaborative work through a drama project undertaken as part of a rather rigid high-school mandatory curriculum. The project aimed to offer a dynamic and safe learning environment in which learners could acquire language in an interactive and collaborative way and to help the learners to develop their oral skills and increase their motivation towards learning a foreign language. A class of final year Italian students (n=10) with a level of language ranging from low intermediate to upper intermediate took part in the drama classes which were implemented longitudinally over two academic terms (20 weeks): self-standing play excerpts combined with drama games in the second term followed by a full-scale performance of a single play in the third term. Data were collected through a semi-structured questionnaire, follow-up interviews and researcher’s field notes. Findings revealed that learners perceived that collaboration and interaction through drama were important elements for promoting a positive attitude towards learning a foreign language and their oral production despite the challenges that a full-scale production may pose when subjected to the various constraints of time and the syllabus requirements of a compulsory curriculum.
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Caponi-Doherty, Gabriella. "Dramatic Interactions: Teaching Languages, Literatures and Cultures through Theater—Theoretical Approaches and Classroom Practices, edited by Colleen Ryan and Nicoletta Marini-Maio." Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 2 (July 1, 2012): 88–90. http://dx.doi.org/10.33178/scenario.6.2.9.
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This rich collection of essays is an apt follow up to the excellent previous volume on theatre and language pedagogy – Set the Stage! Teaching Italian through Theater. Theories, Methods, and Practices – published by the two co-editors - Colleen Ryan (Indiana University) and Nicoletta Marini-Maio (Dickinson College) – in 2009. While the previous volume was intended specifically to offer resources to teachers and students to help them incorporate the Italian theatre tradition into the language curriculum, this new collection seeks to confirm the effectiveness of using theatre for foreign language teaching and learning by offering examples where drama is used with other taught languages, such as French, German, Spanish, Italian, Portuguese, but also Romanian, Russian and Japanese. The book stems from the recent fertile pedagogical research carried out by Appiah, De Lauretis, Pavis, Pireddu and De Marinis – just to mention a few – which considers theatre both as a cultural product and as a constituent of a teaching philosophy on intercultural learning. For the editors, “Theatre is the literary genre which most actively engages the cultural learner and maximises his/her ability to appropriate what is other” (2). The contributors to this volume are educators who have been working ...
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Schmenk, Barbara. "Helga Tschurtschenthaler: Drama-based foreign language learning. Encounters between self and other." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 1 (January 1, 2016): 107–10. http://dx.doi.org/10.33178/scenario.10.1.8.
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Book reviews reflect the views and opinions of the respective reviewers and do not necessarily represent the position of SCENARIO. Helga Tschurtschenthaler’s study is one of the most important scholarly contributions in recent years to the field of drama-based foreign language teaching. She conducted her research in an EFL class in an upper secondary school in multilingual South Tyrol and presents a plethora of data that demonstrates the impact of drama in foreign language education on students’ sense of self as emerging multilingual subjects (Kramsch 2009). What stands out about this study, besides its detailed presentation and analysis of student data, is the fact that Tschurtschenthaler succeeds in connecting recent theoretical contributions to the fields of language education and identity to more practical considerations. Overcoming the gap between theory and practice in this domain is one of her signal achievements. “You are not you when you speak Italian. It’s as if you become someone else when you change into Italian. You don’t only sound different, but you even behave differently. Then, you’re not the person I know.” (11) These are the opening lines of the book, leading the reader directly to its main subject. Tschurtschenthaler explains that it was a ...
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Cunico, Sonia. "Translating (dis)ordered speech in drama." Babel. Revue internationale de la traduction / International Journal of Translation 51, no. 1 (October 24, 2005): 1–15. http://dx.doi.org/10.1075/babel.51.1.01cun.
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Abstract Although the topic of the representation of madness is a rich and much studied one in literary criticism, so far there has been no systematic attempt to analyse the language of madness in dramatic texts, either within the same language and culture or across them. This paper compares the strategies used to characterise the growing insanity of the king and the dynamics of his interaction with Willis, the doctor, in Alan Bennett’s successful play The Madness of George III (1992) with those in its published translation into Italian (1996). The article shows how an analysis of the strategies used in the source text is a necessary initial step 1) to reveal the systematic patterns of linguistic deviance (drawn from the language of real schizophrenia) which characterise King George’s madness, and 2) to highlight the battle for power between the two characters shown in their linguistic choices. These are key themes of the play which must be successfully transferred across in the target text. Résumé Bien que le thème de la représentation de la folie soit riche et ait été beaucoup étudié dans le domaine de la critique littéraire, il n’y a pas eu jusqu’ici de tentative systématique d’analyser le langage de la folie dans des textes dramatiques, ni dans la même langue et culture, ni dans des langues et cultures étrangères. Cet article compare les stratégies utilisées pour caractériser la folie grandissante du roi et la dynamique de son interaction avec le médecin Willis, dans la pièce à succès d’Alan Bennett, Th e Madness of George III (1992), avec celles de sa traduction publiée en italien (1996). L’article montre comment une analyse des stratégies utilisées dans le texte-source est une étape initiale nécessaire pour 1) révéler les modèles systématiques de déviance linguistique (tirés du langage de la véritable schizophrénie) qui caractérisent la folie du Roi George, et pour 2) souligner la lutte de pouvoir entre les deux personnages, qui se manifeste dans leurs choix linguistiques. Ce sont des thèmes-clés de la pièce qu’il faut réussir à transférer dans le texte cible.
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Bujic, Bojan, and Deirdre O'Grady. "The Last Troubadours: Poetic Drama in Italian Opera 1597-1887." Modern Language Review 90, no. 1 (January 1995): 218. http://dx.doi.org/10.2307/3733341.
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Clare, Janet, Michele Marrapodi, and Giorgio Melchiori. "The Italian World of English Renaissance Drama: Cultural Exchange and Intertextuality." Modern Language Review 96, no. 1 (January 2001): 158. http://dx.doi.org/10.2307/3735736.
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Dalziel, Fiona. "Aroused from a “false sense of neutrality“." Scenario: A Journal for Performative Teaching, Learning, Research XV, no. 2 (December 31, 2021): 80–84. http://dx.doi.org/10.33178/scenario.15.2.7.
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The three black and white photographs that provide the impetus for this piece are the work of students participating in an English drama workshop at an Italian university. The brief discussion around the tableaux task “Art is not neutral”, inspired by Cañas’ manifesto, is framed by critical language pedagogy and addresses the issue of students’ agency as socially-responsible citizens.
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Licastro, Emanuele. "Review: Twentieth-Century Italian Drama: An Anthology the First Fifty Years." Forum Italicum: A Journal of Italian Studies 31, no. 2 (September 1997): 561–63. http://dx.doi.org/10.1177/001458589703100221.
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Laviosa, Sara. "Translation as Adaptation for Language Pedagogy." Linguaculture 2014, no. 1 (February 1, 2014): 63–72. http://dx.doi.org/10.1515/lincu-2015-0014.
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Abstract This paper explores, within an ecological perspective on language learning (cf. van Lier 2004), the valuable role that translation as adaptation can play in mediating and making sense of cross-cultural experiences in the multilingual language classroom. The aim is to develop a multilingual pedagogy that includes translation as adaptation as an integral part of the language curriculum in order to foster translingual and transcultural competence, this being the goal of foreign language education in the 21st century (cf. MLA 2007:2). The first part of the paper introduces the theoretical framework that conceptualises translation as being closely related to adaptation. It then analyses salient scenes from Gianni Amelio’s bilingual drama La stella che non c'è/The Missing Star/L'Étoile Imaginaire (2006) filmed in Italy and China and screened in competition as part of the 2006 Venice Film Festival. Moving on from research to pedagogic practice, the final part of the paper outlines a teaching unit that is based on the film and is aimed at undergraduate L1 Chinese learners of Italian and L1 Italian learners of Chinese. The objective of the pedagogic unit is to raise awareness of the transformative power enshrined in linguistic and cultural exchanges mediated by audio-visual translation as an eminent example of adaptation.
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C. Kingsbury, Kelly. "Nicoletta Marini-Maio and Colleen Ryan-Scheutz (eds) (2008). Set the Stage! Teaching Italian through Theater." Scenario: A Journal of Performative Teaching, Learning, Research III, no. 2 (July 1, 2009): 74–76. http://dx.doi.org/10.33178/scenario.3.2.7.
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Set the Stage! Teaching Italian through Theater: Theories, Methods, and Practices (Yale, 2008), edited by Nicoletta Marini-Maio and Colleen Ryan-Scheutz, is a tremendously valuable contribution to the growing body of literature on drama and theatre in foreign/second language (L2) education. This volume contains eleven chapters addressing a diverse array of topics, a comprehensive director’s handbook, and reflective contributions by Dario Fo, Franca Rame and Dacia Maraini, three of Italy’s most prominent theatre practitioners engaged with pedagogical questions related to the learning of L2 Italian through theatre. The chapters of Set the Stage! encompass both theoretical and practical orientations toward questions of culture, theatre history, curriculum, and assessment in language learning, and they offer an array of perspectives that illuminate a variety of possible models for incorporating diverse forms of theatre within the L2 curriculum. The first section of Set the Stage! includes an overview of theatre’s place within Italian literature and culture. Following Pietro Frassica’s overview of the Italian theatrical canon, William Van Watson offers an insightful commentary on the inherent theatricality of Italian cultural interactions, the possibilities this raises for cultural misunderstandings, and the concomitant potential it holds for theatrically teachable moments. Section II focuses on the place of ...
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Taviano, Stefania. "Translating Migration: Art Installations against Dehumanizing Labelling Practices." Languages 8, no. 3 (September 20, 2023): 221. http://dx.doi.org/10.3390/languages8030221.
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Migration is commonly described as a threat through images of invasion and flood in Western media. Migrants and asylum seekers tend to be the target of hate speech together with other vulnerable groups and minorities, such as disabled people, and definitions and labels have precise implications in terms of social justice and human rights. Migrant is an umbrella term used to refer to a variety of people who leave their countries of origin. Out-of-quota and dubliner are further labels, together with asylum seekers. Through an interdisciplinary approach, adopting a translation perspective on social justice, I would like to focus on the ways these labelling practices affect migrants’ and asylum seekers’ lives to the point of violating their rights. A clear example is represented by the English term dublined, translated as dublinati/dublinanti into Italian, and with no translation into German. It derives from the Dublin regulations, signed in 2013 and still valid, and indicates those people who want to apply for asylum in a given country but cannot do so because their fingerprints have been taken and registered in another EU country. Classifications of this kind, combined with further categorisations, such as “ordinary” or “vulnerable”, are applied throughout EU countries and languages to determine whether asylum seekers deserve, and are thus granted, asylum or not. They are informed by a dehumanizing view of migration and translate into “bordering practices” which prevent access to reception systems and welfare services. Resistant translation practices, a new language and art activism can contribute to reversing dehumanizing practices by putting displaced people’s identities at the centre. The Sicilian artist Antonio Foresta is the author of the installation Pace Nostra, a symbolic wave made of migrants’ clothes and Caltanissetta inhabitants’ bedsheets, with both an Italian and Arabic title, which translates migration, commonly perceived as “their” drama, into “our” drama, a common human experience, leading to a common goal: peace.
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Li, Qiang. "Peculiarities of the mutual influence of Italian and Chinese musical theater tradition in historical development." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 67, no. 67 (October 22, 2023): 56–77. http://dx.doi.org/10.34064/khnum1-67.04.
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Statement of the problem. Modern opera performance art in China is closely related to the national theater tradition, which has a thousand-year history. Despite the fact that Italian (and generally European) musical and dramatic art has been known in China for more than a few century, the public did not perceive it for a long time due to significant differences in many aspects: from stage dramaturgy, vocal roles to behavioral norms in the theater institutions. This study draws historical parallels between Italian opera and national Chinese music-theatre art and examines attempts to adapt Italian vocal art to Chinese. Objectives, methods, novelty of the research. In this investigation, we tried to find common and distinctive features in Italian and Chinese musical theater by comparison, as well as to identify the factors that influence the perception of the theater work by the Chinese public. The scientific novelty of the study lies in the fact that for the first time the path taken to adapt Italian vocal art to the Chinese language, the national musical theater and its audience is analyzed, and the role of tradition in this process. The main research method is comparative, with the help of which the common and distinctive features of Chinese and Italian musical theater are revealed; methods of historical musicology and cultural studies were also used. Research results. The development of Italian and Chinese musical theater in certain historical periods took place in parallel, so they have a number of similar typological features. Both Chinese and Italian theaters synthesize different types of art: singing, ballet, visual series (decoration, costumes), dramatic action. At the same time, they are fundamentally different manifestations of theatrical art. In Chinese opera, the visual component is of great importance – costumes, make-up, decor, etc., and the content and plot vicissitudes are deliberately simplified so that the audience is not distracted, but can enjoy the spectacle. The difference of Chinese opera is circus art: the actors had to have acrobatic and fighting skills and impress the audience with them. In Italian opera at the stage of its formation, the visual series was given great importance, but due to the fact that the authors of the first opera models (Florentines) considered as a model the Greek drama with its idea of moral improvement through catharsis, its dramaturgy is radically different from that of the Chinese theater; therefore, tragedies and dramas were not perceived by the Chinese audience who went to the theater to be entertained and enjoy the skill of the actors. For quite a long period after the penetration of European culture, the Chinese public did not perceive works of Western art, treated them as exotic and often did not understand their essence, aesthetics and value in general. The main obstacle was usually the language, but also the content of the theatrical works of European playwrights, translated into Chinese, did not find a response in the audience, despite the rather significant commonality in plots, themes, and issues. The public did not understand complex ideas that were accompanied by dramatic events or had a tragic ending. Conclusion. Italian and Chinese opera have many common features, but differ in their basis, and the Chinese audience did not perceive Western art for so long because of the fundamental difference in the approach to the visual and content aspects. The originality of Chinese theater drama consists in maximum visualization, which distinguishes it from European drama, in which the content is the basis of the work. The formation of modern opera performing art in China took place in the middle of the 20th century, and this process has a distinctive feature: modern national opera in European traditions was created in order to interest the Chinese public, to draw their attention to the new art. The first example of such an opera (yangban xi) – “The White-Haired Girl “(1945), created by the team of authors of the Academy of Fine Arts named after Lu Xin, became popular among the Chinese, which confirmed the correctness of the creative approach that combined European forms and Chinese performance traditions. In addition, the work was adapted for plastic (ballet), screen and traditional theater (xìqǔ) arts. The appearance of such productions contributed to the fact that the public gradually got used to European opera, and today Chinese opera art is widely represented on the national and world stages. In the years since the appearance of the first Western-style national opera, Chinese singers have mastered various classical vocal styles: Italian bel canto, traditional Chinese singing, Chinese bel canto, and now represent their own national vocal school on world stages.
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Shapiro, H. A. "Attic Comedy and the ‘Comic Angels’ Krater in New York." Journal of Hellenic Studies 115 (November 1995): 173–75. http://dx.doi.org/10.2307/631658.
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The centerpiece of Oliver Taplin's recent monograph on Greek drama and South Italian vase-painting is an Apulian bell-krater of the early fourth century in a New York private collection (Plate IV). The vase belongs to the genre conventionally known as phlyax vases, though Taplin would reject that label, since it is the thesis of his book that many, if not most, of these vases reflect Athenian Old Comedy and not an indigenous Italic entertainment, the phlyax play.
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Silver, Cassandra. "Making the Bedouins: Code-Switching as Model for the Translation of Multilingual Drama." Theatre Research in Canada 38, no. 2 (November 2017): 201–18. http://dx.doi.org/10.3138/tric.38.2.201.
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The translation of theatre from one linguistic and cultural context to another can be uniquely challenging; these challenges are multiplied when the source text is itself multilingual. René-Daniel Dubois’s Ne blâmez jamais les Bédouins, translated into English under the name Don’t Blame the Bedouins by Martin Kevan, unfolds in English, French, Italian, German, Russian, and Mandarin. The original “French” text presents as postdramatic, deconstructing language and identity in a sometimes frenetic pastiche. Kevan’s “Anglophone” text, however, resists the postdramatic deconstruction in the original, instead bulking up Dubois’ macaronic and archetype-heavy collage with some attempts at psychological depth. Because of its polyglossic complexity and because it has been translated, published, and produced in both English and French, it proves an excellent case study that allows for an in-depth analysis of how multilingual theatrical translation can be carried out. I propose that Kevan’s translation of Dubois’ play exhibits not only textual and performative translation, but that he also translates the linguistically-coded aesthetic conventions that distinguish Quebecois and English Canadian drama and their respective audiences. Kevan shows sensitivity to the gap between the politics of language in French and English Canada as well as to the gap between theatrical codes in both linguistic communities by amplifying the psychological realism and consequently tempering the language politics in his “English” version of Dubois’s work. The choices that Kevan made in his translation are here elucidated by borrowing linguistic theories of conversational code-switching to analyze both versions of the play.
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Stampino, Maria Galli. "Corinna Salvadori, Peter Brand and Richard Andrews, Overture to the Opera. Italian Pastoral Drama in the Renaissance." Forum Italicum: A Journal of Italian Studies 48, no. 1 (April 11, 2014): 145–47. http://dx.doi.org/10.1177/0014585813518014.
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Clare, Janet. "The Italian World of English Renaissance Drama: Cultural Exchange and Intertextuality by Michele Marrapodi Italian Studies in Shakespeare and His Contemporaries by Michele Marrapodi , Giorgio Melchiori (review)." Modern Language Review 96, no. 1 (January 2001): 158–60. http://dx.doi.org/10.1353/mlr.2001.a825528.
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Leonard, Alice. "“Enfranchised” Language in Mulcaster’s Elementarie and Shakespeare’s Henry V." Revista Alicantina de Estudios Ingleses, no. 25 (November 15, 2012): 127. http://dx.doi.org/10.14198/raei.2012.25.10.
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This article is a study of early literary theory and practice in Renaissance England, which focuses specifically on Shakespeare’s language use. The end of the sixteenth century in England experienced a linguistic revolution as Latin was gradually replaced by vernacular English. Renaissance rhetoricians such as George Puttenham and Thomas Wilson patriotically argued that English was capable of employing figures of speech to express complex ideas. Yet in this period the vernacular was in a process of formation, demonstrated by Richard Mulcaster’s Elementarie (1582). He argued for the expansion of the lexicon according to “enfranchisement”: the welcoming and naturalizing of foreign words from Latin, Greek, Spanish, French and Italian into English (1582: 172). The Elementarie reveals how language was being shaped in a period of massive linguistic change. This is especially visible in the dynamic creativity of Shakespeare’s linguistically-inventive drama, made possible by the transition from Latin to a protean vernacular. He staged the difference within English itself and its mixing with foreign languages. This is particularly prevalent in Henry V (1599) with the representation of French and regional dialects, where linguistic exchange and semantic negotiation bring linguistic difference to the fore and the lexical parts become all the more plastic. This article seeks to examine what happens when English is set alongside foreign tongues: why they are used, how they are represented, and how they interact. It will argue that this attention to foreign language demonstrates English inviting rather than excluding strange tongues for the health of the linguistic body and the enhancement of expression.
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KARAMANOU, IOANNA. "AN APULIAN VOLUTE-CRATER INSPIRED BY EURIPIDES' DICTYS." Bulletin of the Institute of Classical Studies 46, no. 1 (December 1, 2003): 167–75. http://dx.doi.org/10.1111/j.2041-5370.2003.tb00738.x.
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Abstract This paper aims to substantiate the relation of an Apulian vase-painting to a fourth-century revival of Euripides' Dictys. The obverse shows Perseus returning to Seriphos with the Gorgon's head, with Danae and Dictys as suppliants at Poseidon's altar, and king Polydectes. Its dramatic inspiration is suggested by the depiction of characters in stage-costumes, the ‘speaking’ gesture used by Dictys, the conventional aedicula-pattern, and the Dionysiac scene on the reverse. The lack of evidence for Aeschylus' Polydectes implies its reduced popularity, and makes it unlikely to have inspired this vase-painting, as against the reasonable number of quotations from the Dictys and the wide popularity of Euripidean drama in South-Italian pottery. This altar scene confirms that the accounts of Ps. Apollodorus and Theon reflect the plot of the Dictys, and offers evidence for the basic reconstruction of the play.
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Bassnett, Susan, J. R. Dashwood, and J. E. Everson. "Writers and Performers in Italian Drama from the Time of Dante to Pirandello: Essays in Honour of G. H. McWilliam." Modern Language Review 88, no. 3 (July 1993): 778. http://dx.doi.org/10.2307/3734987.
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Munteanu, Emilia. "Briser les barrières ou enseigner-apprendre le FLE par le jeu théâtral." Taikomoji kalbotyra, no. 11 (August 8, 2018): 41–58. http://dx.doi.org/10.15388/tk.2018.17245.
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A l’ère de la mondialisation, l’accès illimité à l’information modifie de plus en plus le rapport des jeunes gens mais surtout la vision des adultes du troisième âge à l’égard des barrières de l’apprentissage. De nos jours, de nombreuses institutions d’enseignement et des ONG proposent aux derniers une large panoplie d’activités dans le but de leur faire acquérir de nouvelles compétences et capacités linguistiques, culturelles, techniques, artistiques, etc. En tant que formateurs en FLE, nous avons cherché à briser les barrières qui séparent les générations et à favoriser la communication entre adultes au-delà des frontières géographiques, culturelles, linguistiques à travers un projet européen PLALE. Réunies autour du coordinateur italien de Pavie, cinq autres institutions partenaires se sont proposé de partager leur expérience dans l’enseignement-apprentissage des langues par le jeu théâtral. Pendant deux années, des professionnels et des apprentis de la langue provenant du système formel universitaire se sont servis de leurs compétences didactiques et de leur expérience liée à l’emploi du jeu théâtral pour transformer le contexte non formel de l’Ecole populaire d’arts et de métiers de Bacau en Roumanie en un laboratoire pour l’expérimentation de nouvelles techniques et méthodes d’acquisition par les adultes des connaissances en L2. Le déroulement du projet et la création d’un spectacle théâtral joué à Bacau par les apprenants par les apprenants adultes des six partenaires nous ont permis de faire l’apprentissage d’une pédagogie vivante mais aussi de l’andragogie et de prendre conscience du rôle des relations intergénérationnelles pour assurer la santé de la société actuelle.
Breaking barriers, or teaching and learning French by playing drama
In the era of globalization, due to unlimited access to information, the relationship and the attitude among the young people have increasingly modified. In addition, the adult’s point of view regarding traditional limits of learning has also changed. Nowadays, more and more institutions of teaching and NGOs are proposing to them a variety of activities which offer them a possibility to develop not only their computer skills but also linguistic, artistic and cultural abilities. As foreign language teachers, we have tried to create a connection between generations, so as to ease the communication between adults which would not have been possible without the existence of a European project. Entitled PLALE or Playing for Learning, it integrates five partners from France, Spain, Portugal, Germany and Romania coordinated by an Italian specialist from Pavia. The specialists’ purpose is to share their experience in the field of foreign language teaching and learning through drama.
Key words: European project; pedagogy; andragogy; language teaching and learning; theatre performance; relations between generations.
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Markov, Alexander V. "PATTERNS OF RENAISSANCE EPISTOLOGRAPHY IN THE EXPERIMENTAL PROSE OF ALEXANDER ILYANEN." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 2 (June 1, 2020): 122–42. http://dx.doi.org/10.18522/2415-8852-2020-2-122-142.
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The online prose of Alexander Ilyanen, recognized as one of the most significant experiments of Russian literature today, is not only a reflection on the possibilities of writing and utterance, but also an experience of rewriting of written forms. Recent prose of Ilyanen is a kind of philological observation of the usability of different types of writing to assemble a meaningful statement about the current quarantine situation. Correlation of these types of writing with the usual genres is not relevant, even introducing general framework of the novel and drama. Renaissance Italian epistolography as a way of producing situations, rather than roman à clef, clarifies Ilyanen’s prose strategies. A detailed analysis of the Renaissance letters by Poggio proves that he did not affirm the new model of language use, reviving the Cicero ideal, but he controlled effects of writing and biography, to improve official policy. The irony, intrigues, hints, social designing in these letters anticipate the tactics of professional blogging by eminent writers, but differ in responsibility for political decisions of both authors and persons mentioned.
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Smith, Paul Julian. "Screenings." Film Quarterly 71, no. 3 (2018): 72–76. http://dx.doi.org/10.1525/fq.2018.71.3.72.
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Italian television scholar Milly Buonanno has often complained that, in this second Golden Age of TV, academic attention is focused almost exclusively on the United States. Even in a country like Spain, newspapers dutifully recap each episode of American premium-cable and streaming-service series while ignoring their own local productions. Hence, the importance of Buonanno's new collection Television Antiheroines: Women Behaving Badly in Crime and Prison Drama, which tracks its female figures on screens from Italy and France to Australia and Brazil. Smith examines two prominent Spanish language TV shows featuring women in prison and concludes that Buonanno's invaluable book shows it is no longer necessary to ask where the female Tony Sopranos or Walter Whites may be. And, thanks to the compelling examples of Capadocia (HBO Latin America, 2008–12) and Spain's Vis a vis (Antena 3/Fox, 2015–), it is now clear that difficult women can speak Spanish as well as English on global TV screens, even as they are confined within them to the smallest of prison cells.
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Medda, Laura. "Scrivere per il teatro Il mondo sardo nei racconti drammatici di Giuseppe Dessì." Revista Italiano UERJ 12, no. 1 (September 5, 2021): 18. http://dx.doi.org/10.12957/italianouerj.2021.61943.
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ABSTRACT: Questo articolo riguarda i testi per il teatro dello scrittore sardo Giuseppe Dessì (Cagliari, 1909 – Roma, 1977). Nell'ordine, presentiamo i Racconti drammatici - Qui non c'è guerra, La Giustizia - (Feltrinelli, 1959) e il dramma storico Eleonora D'Arborea (Mondadori, 1964). Importante autore di romanzi e racconti, in questi testi, Giuseppe Dessì rappresenta la complessità del mondo sardo in linea di continuità con quanto espresso nelle sue pagine narrative e saggistiche. Il teatro permette allo scrittore di sperimentare un nuovo linguaggio capace di rappresentare, attraverso i personaggi, non solo azioni e fatti ma anche atmosfere, percezioni e poetiche ragioni caratterizzanti i significati più profondi della sua scrittura. La produzione teatrale dell'autore, ancora oggi considerata di minor rilevanza e non abbastanza studiata dalla critica, è degna invece di maggiore attenzione e approfondimenti: per questo motivo, abbiamo deciso di presentare la figura di Giuseppe Dessì attraverso tre importanti testi drammatici poco conosciuti al grande pubblico estero.Parole chiave: Giuseppe Dessì. Letteratura italiana. Teatro. Narrativa. Sardegna. RESUMO: Este artigo trata da textos para o teatro do escritor sardo Giuseppe Dessì (Cagliari, 1909 – Roma, 1977). Apresentamos os Racconti drammatici - Qui non c'è guerra, La Giustizia - (Feltrinelli, 1959) e o drama histórico Eleonora D'Arborea (Mondadori, 1964). Importante autor de romances e contos, nestes textos, Giuseppe Dessì representa a complexidade do mundo sardo em paralelo com o que expressa nas suas páginas narrativas e ensaísticas. O teatro permite ao escritor experimentar uma nova linguagem capaz de representar, através das vozes dos personagens, não apenas ações e fatos, mas também os ambientes, as percepções e as poéticas, que permeiam os significados mais profundos da sua escrita. A produção teatral do autor, ainda hoje considerada de menor relevância e não suficientemente estudada pela crítica, é digna de maior atenção e aprofundamento: por esse motivo, decidimos apresentar a figura de Giuseppe Dessì através de três importantes textos dramáticos pouco conhecidos do grande público estrangeiro.Palavras-chave: Giuseppe Dessì. Literatura italiana. Teatro. Narrativa. Sardenha. ABSTRACT: This article concerns the texts for the theater of the Sardinian writer Giuseppe Dessì (Cagliari, 1909 - Rome, 1977). In order, we present the Racconti drammatici - Qui non c'è guerra, La Giustizia - (Feltrinelli, 1959) and the historical drama Eleonora D'Arborea (Mondadori, 1964). Important author of novels and short stories, in these texts, Giuseppe Dessì represents the complexity of the Sardinian world in line with what is expressed in his narrative and non-fiction pages. The theater allows the writer to experience a new language capable of representing, through the characters, not only actions and facts but also atmospheres, perceptions and poetic reasons characterizing the deepest meanings of his writing. The theatrical production of the author, still today considered of minor importance and not sufficiently studied by the critics, is instead worthy of greater attention and insights: for this reason, we have decided to present the figure of Giuseppe Dessì through three important dramatic texts little known to the large foreign public.Keywords: Giuseppe Dessì. Italian literature. Theater. Fiction. Sardinia.
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Golovashych, Eduard. "Oleksandr Myshuha's pedagogical school and philanthropy." Bulletin of Luhansk Taras Shevchenko National University, no. 6 (354) (2022): 12–17. http://dx.doi.org/10.12958/2227-2844-2022-6(354)-12-17.
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The materials of the article introduce the pedagogical school of an outstanding Ukrainian, the world-famous singer Oleksandr Pylypovich Myshuga, who managed to combine the national traditions of singing with the Italian professional school of bell canto, creating his own scientific and artistic vocal school. Oleksandr Pylypovich's pedagogical legacy still holds a deep place in the development of the vocal class of the National Music Academy of Ukraine, where two of his students – Mykhailo Venediktovych Mykysha and Maria Eduardivna Donets-Tesseir – once worked. Myshuga is known not only as an outstanding singer and teacher. He entered the history of art also as a patron, thanks to which many talented personalities were able to realize themselves. He gave almost all of his funds to the education of his own students, helped his fellow villagers and even invested money in the development of bursaries. His name is written in golden letters in the history of our people. M. Lysenko's Music and Drama School (Ukrainian educational institution) was the only one in tsarist Russia where teaching was conducted in the Ukrainian language and where the achievements of national drama and national musical theater were integrated. When a world- famous singer came to teach here, it greatly increased her authority. Having analyzed Oleksandr Myshuga's pedagogical ideas and his philanthropic activities, we can come to the conclusion that Maestro's teaching practice had an integrative character. Considering the fact that O. Myshuga had not only a musical, but also a pedagogical education, he tried to raise a comprehensively educated personality, an intellectual performer. While engaged in practical classes with students, he also found time for vocal lectures, tried to implement the principle of multilingualism – understanding the text of vocal works in the original language. As a philanthropist, O. Myshug helped the formation of many talented individuals – includin such bright personalities, luminaries of Ukrainian vocal pedagogy, as Mykhailo Mykysha and Maria Donets-Tesseir.
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Bąkowska, Nadzieja. "Maska czy gęba? Operetka Witolda Gombrowicza w kontekście komedii dell’arte." Poznańskie Studia Polonistyczne. Seria Literacka, no. 38 (October 15, 2020): 103–23. http://dx.doi.org/10.14746/pspsl.2020.38.5.
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The article is an attempt at placing Operetka (Operetta) in the context of commedia dell’arte by comparing the basic structural and ideological characteristics of Witold Gombrowicz’s drama with the key traits of the commedia dell’arte genre. The author of Ferdydurke, who coined the phrase przyprawiać (komuś) gębę (put the screws to someone’s mug), brings to the grotesque distortion any manifestations of form domination both in life and in art. Ironically, it is the elements of Operetka, related to commedia dell’arte – a thoroughly conventionalised and schematised genre, that become the tool for a sort of removal of mask or mug. Given the mask, protagonists are given “a mug”, and cannot be themselves, they can only be what is allowed by the mask they were given and so they become its prisoner, in a way. The only antidote to “the mug” is nudity that frees one from any mask that forces them to play the designated roles. The article aims to present the relationship between Operetka and the commedia dell’arte genre, with particular emphasis on analysing the Gombrowicz’s concept of form against the convention of mask and costume in the commedia dell’arte, and on the “nudity” vs. “mask” opposition that focuses the drama’s main artistic and existential issues, while it is also precisely the point where the relationship between Gombrowicz’s work and Italian commedia dell’arte is seen most clearly.
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Li, Yunjie, and Tsetsegdelger Damdindorj. "Analysing the Singing Style and Teaching of American Voice in Colleges and Universities." Frontiers in Business, Economics and Management 13, no. 1 (January 23, 2024): 183–86. http://dx.doi.org/10.54097/vz91cz42.
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Many foreign opera vocal works singing, in the Romantic period emerged many composers, such as Mozart with a unique perspective, clear creative style led the whole European opera era, such as "The Marriage of Figaro" so far in the college teaching and practice singing is an important teaching of the basic curriculum, but in the college American vocal vocal music teaching involves the singing and performance of the content is poor. However, no matter from the inheritance and development of Chinese American vocal opera, or as a teacher engaged in vocal music teaching, it is indispensable to analyse the style and singing of the works as well as the practical rehearsal of the opera for students. This paper mainly focuses on Mozart's works of drama, ethnicity, humanity, vividness of characters, epoch, popularity and ideology to show the singing style of Italian vocal teaching, and takes the piece "se acaso di madama la notteti chima" as an example to talk about how to absorb and apply Mozart's style, language and singing skills to the teaching and practice of American vocal music in colleges and universities. rehearsal.
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Adetu, Edith Georgiana. "Verdian lyric theatre. Hermeneutics of the performance and contemporary challenges." Artes. Journal of Musicology 23, no. 1 (April 1, 2021): 196–206. http://dx.doi.org/10.2478/ajm-2021-0011.
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Abstract Engaging the viewer in a dialogue with the opera of Giuseppe Verdi is an approach that involves him spiritually, culturally, morally. You can enter this universe of opera music through several gates. The wide path of science will walk through the portal of stylistics, aesthetics, philosophy or art history. On another road comes the profane, motivated by the love for the beautiful. The opera Nabucco was the first step in the evolution of Italian lyrical theatre – from melodrama to realistic drama – characterised by the unity and strength of artistic conception, the energy and simplicity of musical language. Verdi’s dramatic sense and affinity for realism propelled him over time into the role of composer- playwright, his name being closely linked to titles such as: Ernani, Luisa Miller, Macbeth, Othello, Falstaff. However, we can note in recent decades the lack or low presence of important titles among Verdian operas in the repertoire of lyrical theatres. Can the contemporary public still receive this composer’s authentic message? Can current performers wear the clothes of truthful characters and meet the composer’s requirements for the vocal approach? The mission of hermeneutics – this interdisciplinary science – is to discover, as far as possible, the mechanisms of the interpretation of a social phenomenon (as the opera of Giuseppe Verdi has been repeatedly perceived), and its reminiscences in contemporary society.
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TYMOFIEIEVA, Yulia. "TRANSFRONTALITY OF LITERARY IMAGES: EXTRAPOLATION OF THE ITALIAN PUPPET HERO PULCINELLA." 7, no. 7 (December 26, 2022): 86–107. http://dx.doi.org/10.26565/2521-6481-2022-7-05.
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The article concerns one of the most important characters of national Italian puppet theatre, the marionette Pulcinella, and its influence on the images of folk heroes of puppet and drama theaters, street performances and literary works in European countries. National invariants of this character in the theaters and literatures of Western and Central Europe from the time of the appearance of this character to the beginning of the twentieth century are highlighted. Due to the expansion of economic and political ties, from the beginning of the 17th century, Pulcinella, together with itinerant artists and puppeteers, begins its transition to most European national folk theaters and literature. Depending on the geography of the country, its national character traits and national stereotypes, Pulcinella changes his image, his name, his behavior, and language. However, what is the most important, each national puppet retains both external and internal features of their original predecessor, Pulcinella. Examples provided in the article prove that most of the national invariants of Pulcinella possess his main character trait, that is, a fight against injustice and fierce criticism of authorities. Such characters as the English Punch, the Dutch Pickelgering, the French Polychenelle and Guignol, the German and Austrian Hanswurth, the Spanish and Portuguese Don Cristobal, the Czech Kaszparek and the German Kasperle invariably pursue two main goals: to protect the wronged and to defeat the evil In each of the countries, the characters created on the prototype of Pulcinella, were warmly accepted by the public and became very popular, especially with common people. At the same time, they differed from the original with their national coloring; they became the mouthpiece of national character traits, national ethnic stereotypes. The article seconds the opinion of many literary scholars that the origins the marionette character of Pulcinella can be traced to the Italian folk theater hero of Maccus, mainly because Pulcinella adopts the features of that ancient character's appearance, such as an irregularly shaped head, a large hump on his back, a hooked nose, a large belly and lively shrewd eyes. With small changes and variations, these features of appearance are received not only by Pulcinella, but also by the numerous national invariants of this character in Europe. However, all these national invariants also preserve the typical traits of Pulcinella's character, such as cockiness, cunning, thirst for justice and victory in an argument. In the 19th century, the Pulcinella marionette ‘returns’ to Italy and transforms into the wooden puppet Pinocchio. Carlo Collodi’s novel becomes so popular that it is translated in many countries of the world, and the new characters modelled on Pinocchio, acquire national features, such as Zeppel Kern by the German writer Otto Julius Birbaum. This begins a new round of Pulcinella's influence on the world culture.
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Kolesnyk, Evdokia. "Education of a Singer-Actor in the Context of the Ukrainian Opera School." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2(55) (June 16, 2022): 111–24. http://dx.doi.org/10.31318/2414-052x.2(55).2022.266551.
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The article examines the process of formation of the Ukrainian national opera school, establishing its fundamental principles in the context of the successive activities of several generations of vocal teachers. The author substantiates in detail the necessity of training a universal opera singer with fluency in the vocal technique of performing the Ukrainian and foreign repertoire in the original language. The specificity of the training of a singer-actor of the opera genre is determined in the context of the integrative interaction of domestic and foreign vocal systems. The algorithm of this study consists in clarifying the prerequisites and sources of the formation of the Ukrainian national opera school, as well as in the analysis of the formation of its fundamental principles through the prism of the activities of outstanding teachers. The author outlines the definition of the concept of training opera singers in today's realities. The prerequisites for the formation of domestic professional vocal education have been revealed, which consist in the pedagogical activities of the music classes at the Kyiv branch of the Russian Music Society (reformed into the Kyiv Music School), the M. Lysenko Music and Drama School (reorganized into the M. Lysenko Music and Drama Institute), which laid the foundation for the opera training of singers at the Kyiv Conservatory. It was found that the Ukrainian national opera school was formed on the basis of an organic synthesis of national church and folk singing and creatively reinterpreted various European vocal systems. The analysis of the formation of the Ukrainian opera school was carried out. It is proved that it is based mainly on the Italian vocal tradition, developed on domestic soil by O. Muravyova with the participation of O. Filippi-Mishuga. The concept of training a singer-actor in the context of the modern assets of the Ukrainian opera school is argued, it involves the integration of various means of expressiveness in the creation of a complete vocal and stage image of a character. Prospects for further research in the aspect of integrating techniques of different vocal systems with their gradual convergence and assimilation are predicted.
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Mikusi, Balázs. "Minerva’s Hat and the Emperor’s Tailcoat: August Adelburg’s Cosmopolitan “National Opera” Zrínyi." Studia Musicologica 52, no. 1-4 (March 1, 2011): 65–83. http://dx.doi.org/10.1556/smus.52.2011.1-4.5.
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Born to a Croatian father in Constantinople and educated in Vienna, August Adelburg (1830–1873) was a true cosmopolitan. His explicitly “national opera” about Miklós Zrínyi (c1508–1566), a Hungarian national hero of Croatian origins, was premiered in Hungarian translation on 23 June 1868 in the National Theater in Pest. The libretto (originally in German, and adapted by the composer from a drama by Theodor Körner) includes a preface that adumbrates a wholesale theory of cosmopolitanized national opera, as it were. Elaborating his views as expressed in his 1859 essay against Liszt’s On the Gypsies and their music in Hungary, Adelburg insists that the hegemony of the three traditional musical styles—German, French, and Italian—is obsolete, since “the tones have a single expressive language, which is divided into as many dialects as there are musical nations in the world.” At the same time, he also considers the overly use of less “worn-out” national styles misguided, since letting each character sing in the same manner is like “putting a Parisian lady’s hat, instead of an antique helmet, on Minerva’s head, and dressing the Roman emperors in black tailcoat, rather than sagum.” Therefore, a truly up-to-date national opera must in fact be “cosmopolitan” (Adelburg himself uses the term) in its sensitive portrayal of each individual character. Following a brief analysis of some of the most prominent “national” numbers of the work, I conclude by suggesting that Adelburg’s ideas about “cosmopolitanizing the national” render his Zrínyi a kind of mediator between two outstanding Hungarian operas of the period: Mihály Mosonyi’s “all-Hungarian” Szép Ilon (1861), and Ferenc Erkel’s “cosmopolitan” Brankovics György (1874).
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Smart, Mary Ann. "In Praise of Convention: Formula and Experiment in Bellini's Self-Borrowings." Journal of the American Musicological Society 53, no. 1 (2000): 25–68. http://dx.doi.org/10.2307/831869.
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In the 1880s, the realization that Bellini had extensively reused melodies from early or unfinished works in his most famous operas provoked a small aesthetic crisis in Italy. Although today such reuse of material is no longer looked upon as a scandalous breach of compositional integrity, scholars have been slow to examine Bellini's self-borrowings for clues to the evolution of his style or to his attitudes toward the relations between melody and drama. Most of Bellini's self-borrowings show the composer simplifying his melodies, reducing harmonic and melodic variety as if to distance himself from bel canto convention. At the same time, melodic convention is essential to understanding the borrowings, a fact that becomes particularly obvious in those cases where dramatic parallels between the two contexts of a melody are obscure or nonexistent. For example, the recasting of a cheerful cabaletta in Zaira as a lament in I Capuleti e i Montecchi relies on a resemblance between melodic figures conventionally used to imitate tears or laughter-but also critiques those conventions. An allusive relationship between refrains in Il pirata and I puritani similarly derives its logic more from a shared musical evocation of solitude and empty space than from any overt dramatic resemblance between the two scenes. The article argues that for Bellini self-borrowing was entangled with the looser techniques of allusion and reliance on melodic convention. For this reason, study of the self-borrowings provides a model for engaging with the musical language of early nineteenth-century Italian opera, redressing the tendency to dismiss its musical detail as "merely" conventional and thus unworthy of analysis.
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Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.
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Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expressive means of dramatic performance. In addition, knowledge of the fundamentals of choreography and its history contributes to the comprehensive development of the director’s personality, his aesthetic education, the formation of artistic taste, the ability to orientate both in traditional and innovative requirements to the choreographic component of the drama performance, to obtain a contemporary idea of the mutual influence of different art forms, so, to raise his professional development. The objectives of this study are to substantiate the features of teaching the discipline “Dance” and determine its place in the contemporary education system of the director of the drama theatre. Methods. An analytical method is used to determine the components of the discipline “Dance” in the teaching system of the students of the specialization “Stage director of the Drama Theatre”. With the help of the system approach, the place and functions of each type of choreography have been identified within the discipline “Dance”; its integrity, functional significance and perspective development in the system of theatre education of directors are demonstrated. Results. The results indicate that in the education system of the director of the drama theatre the discipline “Dance” is essential not only because of the active involvement of the choreography in the arsenal of the demanded expressive means of drama performance, but it also contributes to the comprehensive development of the director’s personality and his proficiency enhancement. In view of this, a discipline program should be formed with the basic knowledge of various types of choreography. The basis of the choreographic training should be a system of classical dance, which brings up the naturalness of the movement performance, expressive gesture and laying the foundation for the study of other types of choreography. The purpose of the historical ballroom dance is to master the character of the dance culture of a certain epoch, the ability to wear a corresponding dress, use the accessories. The study of this section should be accompanied by a conversation about the era and its artistic styles, dance fashion, special considerations on the relationship between a man and a woman in a dance. This is necessary for the future unambiguous determination of the plastic component of the theatre performance in the pieces by the playwrights of the past centuries. The folk dance stage adaptation introduces the customs and culture of different peoples. Studying of dances all nationalities does not make sense, because the spectrum of their use in performances of the drama theatre today is rather narrow. It is required to concentrate on the basic movements of Ukrainian, Russian, Gypsy, Spanish, Italian, Hungarian and Jewish dances, partly – Old Slavic. It is necessary to require of the students the correct manner of performance and form a comprehension about relevance of the using of folk dance in the context of the director’s vision of a particular performance. The need for the future director’s awareness in contemporary dance is due to the fact that its means can create the plastic component of almost any show. The task of the teacher is to train basic knowledge to the students with the obligatory requirement of the faithful character of the performance of a particular artistic movement or style, considering what is sought out in the drama theatre: contemporary, jazz, partially – street and club style. The tango, which sometimes appears in dramatic performances, should be singled out separately; it should be studied in the form of social and scenic variants with the addition of movements of contemporary choreography. In class it is expedient to use improvisation, to offer the students to make dance pieces on their own. Significant attention should be paid to the musical accompaniment of the lesson, the explanation of the tempo-based and rhythmic peculiarities of musical compositions, and to teach the students to choose the background music for their own dance works independently. It is advisable to give some classes in the form of lectures, in particular, use video lectures that clearly represent the nature and manner of performing various types of choreography. Students’ individual work should consist in consolidating practical skills, compiling own dance pieces and familiarizing with the history of choreography. The director will later be able to use all the acquired knowledge while working with the choreographer, and in the absence of the latter, he will be able to create the dance language of the performance independently. Conclusions. Thus, the dance is an integral part of the education system of the drama theatre director, especially at the present stage, at the same time, the plastic arts is one of the most important components of the performance. This necessitates the stage director’s awareness in various types of choreography in order to use the acquired knowledge and skills in the creative work. In dance class, it is necessary to form a general idea of each type of dance, its purpose, manner of performance and features of use in the performances of the drama theatre. It is essential to demand musicality and rhythmic performance, the ability to improvise. It is advisable to hold both practical and lecture classes, to assign tasks for the independent work of creative and educational content. Eventually, the stage expressiveness, the sense of form, style, space, time, rhythm in the dance, knowledge of the features of partnership and ensemble are raised with the students; the skills of working with the actors on the choreographic component of the performance and the ability to cooperate with the choreographer are formed.
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Whittemore, Hank. "To Be or Not To Be a Genius: The Argument for Acquired Knowledge and Life Experience." Journal of Scientific Exploration 37, no. 2 (August 11, 2023): 270–92. http://dx.doi.org/10.31275/20233117.
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The personal attitudes and experiences of the greatest authors are usually reflected in their works, a phenomenon that gives literary biography its rich potential for new revelations and insights. Within this premise, the Shakespearean poems and plays appear to reflect the viewpoint and education of a high-ranking Elizabethan nobleman of vast experience and deep learning. In fact, many aspects of the life of Edward de Vere, 17th Earl of Oxford, appear to be closely mirrored by the title character of Hamlet, Prince of Denmark. Both the Earl and the Prince are each on intimate terms with a female monarch; each is involved with the daughter of the Queen’s chief minister; each brings actors to perform at the royal court; and while the author of Hamlet demonstrably referred to classics of the Italian Renaissance-- The Courtier and Cardanus’ Comforte -- Oxford himself sponsored publications of both these works in England. The specific focus of this essay is on aspects of such “special knowledge” within the Shakespearean works, special knowledge that has no specific connection to the life of the man from Stratford but which was deeply imbued in the life of Edward de Vere. Cited here will be details of the author’s connections to France and the French language; to the unique culture and geography of Italy; to the literature and drama of ancient Greece; to legal terminology and intricacies of the law; his proximity to persons and places of state power; to his military expertise; his medical knowledge; his intimacy with the sea and seamanship; to astronomy; to music; horses and horsemanship; heraldry; and to plants gardens and gardening. Such experiences and knowledge was possessed by the Earl of Oxford, and it is contrasted here with the paucity of similar experience and learning in the life of Will Shakspere of Stratford. The evidence clearly suggests that it was Edward de Vere using the pseudonym William Shakespeare rather than Will Shakspere who actually was behind the Bard’s work.
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Lyan, Tszitao. "The image of Andrea from the opera “Andrea Chenier” by U. Giordano: the history of vocal interpretations." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 29–42. http://dx.doi.org/10.34064/khnum1-50.03.
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Formulation of the problem. U. Giordano is a bright representative of the late romantic tradition of the Italian opera of the turn of the 19th-20th centuries. Among the brightest stage versions of his most famous opera “Andrea Chenier”, within this study we have selected a number of the key implementations of Andrea Chenier’s part, which show the constant and mobile signs of the interpretation of this famous opera image. The purpose of the study is to identify the features of interpreting the image of Andrea Chenier from the opera of the same name by the performers of various schools in the aspect of the interaction of historical traditions and modern tendencies from viewpoint of comparative interpretation science. Analysis of recent publications on the topic of the article. The Italian opera of the XIX century is the object of many fundamental researches. The monograph of O. Stakhevych [7] demonstrates a multifaceted approach to the problems of becoming and development the bel canto style; in the study by M. Cherkashina [9], the music theatre of Bellini and Donizetti is presented as an independent phenomenon of Italian operatic history in its first period. I. Drach [2] points to debatable and sometimes subjectivity of interpretation of the concept “bel canto”. The evolution of the Italian opera already at the beginning of the XX century is considered in the study of L. Kirillina [3]; reference information about the Italian opera can be found in English-language articles from Grove’s dictionary [17]. An interesting concept is the book of A. Mallach [14] – the author traces the very fast path of the Italian opera from verismo to modernism. As for U. Giordano’s creativity directly, beside the small articles of encyclopaedic character [12; 13], the publication of M. Morini [15] is the most fundamental and complete. It collected not only researches of the composer’s creativity, but also reviews by contemporaries U. Giordano, his correspondence, registers of his performances and music recordings. The study of C. Ruizzo [16] contains arguments about the components of verismo in the work of U. Giordano, in particular, analyzes the finale of the III pictures of the opera “Andre Chenier”. Regarding this opera, we will separate the mini-guide by Burton D. Fisher [11], the articles of I. Sorokina [8], G. Marquezi [5], H. W. Simon [6], C. Duault [10]. The authors discuss not only the dramatic features of this opera masterpiece, the figure of the main character, but also the influences that this opera made, for example, on “Tosca” by J. Puccini. Statement of the main content of the article. The opera “Andrea Chenier” is a sign composition of the verismo era, despite the fact that its main character is the well-known politician, French poet and journalist. After composing (1895) and the premiere (1896, Milan), the opera was staged in Genoa, Mantua, Parma, Turin, New York (1896), Kharkov, Moscow; Budapest, Buenos-Aires, Florence, Naples, Prague, Santiago (1897), Antwerp, Barcelona, Berlin, Cairo, Lisbon, Rio de Janeiro (1898); in 1907, in the production of Covent Garden, E. Caruso played the title role. The composer and librettist brought to the stage as the protagonist of opera bright, courageous and ambitious person, so it is not surprising that both separate arias and the party of Shenier still belong to the repertoire of many prominent tenors of the planet – F. Tamagno, J. Martinelli, E. Caruso, B. Gigly, G. Lauri-Volpi, A. Cortis, F. Corelli, M. Del Monaco, P. Domingo, L. Pavarotti, M. Alvarez. The opera “Andre Chenier” is a model of the golden age of verismo, and it is endowed with all the main features of this direction of Italian art. However, the protagonist, in addition to being a poet, is also a revolutionary, that is, an uneasy person, a hero, and it is the fact that deduces this work for the stylistic limits of verismo by demonstration of a strong, extraordinary character. These features are embodied in the musical characteristics of Chenier. The main thing in interpreting his famous Improvisation “Un di al’azzurro spazio” (the 1 act of the opera) by E. Caruso is the very elaboration, exact construction of the melodic line and the bright climax, that is, combination the features both a lyrical and a dramatic role specializations that E. Caruso was possessed in equal measure. B. Gigli’s singing (which we consider an example of a dramatic embodiment of the image) is characterized by the refinement of the mezzo voce and the richness, when he sings in full voice, therefore his performance of the Improvisation, in general, is more emotional (a high-profile register, a rhythmic emphasizing that gives a distinct organization the image). M. Del Monaco performs the Improvisation not so much playing by the shades of his strong voice as leading the almost continuous melodic line, which gives mostly lyrical colours to the Chenier’s image. The aria “Come un bel di Maggio” from the 4 act performed by F. Corelli is a model of the exalted lyrics, the lyrical culmination of the opera. F. Corelli performs the aria legato that is tellingly to the bel canto tradition, with a full sound, as if the sound hovers and penetrates everywhere through the skilful addition of dramatic notes (the last sounds of the upper tenor range – si, la of the first octave). P. Domingo interprets Andrea’s image as a whole more dramatically, but in a fairly wide range – from the pathetic (Act 1), the sublime, lyrical (recognition in love in the Act 2) to the tragic (monologue “Yes, I was a soldier” of the Act 3) and the dramatic (Act 4). His striking rubato, aimed at acutely emotional expression, is impressive, P. Domingo has literally speaking in the some parts of the recitatives and even the arias, and that, in conjunction with accelerando, fills the musical language by the speech expression. The interpretation by P. Domingo corresponds to Chenier’s status as a revolutionary hero. Conclusions. Composing the opera, U. Giordano counted on the Italian tenor in the main role, according to the traditions of the bel canto era (strong upper notes, wide range, and equal voice sounding in different registers). The tradition of interpreting the image of Chenier, laid by the first performer J. Borgatti, generally is preserved. The analysis of the most famous interpretations of the Chenier’s part (performed by E. Caruso, B. Gigli, M. Del Monaco, F. Corelli, P. Domingo, J. Carreras, and L. Pavarotti) demonstrated the leading role of the Italian bel canto school. This applies to the principle of canto è riflesso, singing without forcing the sound, the role of breathing, which transforms into the singing sound, the predomination of the head register (la voce di testa), and the integrity of the cantilena. For instance, M. Del Monaco and F. Corelli are lyrical tenors; they sing brightly, with a shine light decoration of high notes. In the performance of B. Gigli, there is a constant movement forward; L. Pavarotti, F. Corelli, J. Carreras, being within the limits of the lyric and dramatic role specifications, transmit in music the power of deep feelings. Instead, B. Gigli and, P. Domingo especially demonstrate the power of drama in the role specification of the Italian tenor, thereby enhancing the heroic side of the image of Shenier. The prospect of further study of the topic is associated with the emergence of new interpretations of the image of A. Chenier in the 21st century, which opens up new dimensions of the science about art interpretation.
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BURKE, PETER. "The hybridization of languages in early modern Europe." European Review 14, no. 1 (January 3, 2006): 105–10. http://dx.doi.org/10.1017/s1062798706000093.
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This article argues that European vernaculars were in closer contact with one another and with languages spoken outside Europe in the 16th and 17th centuries than they had been in the Middle Ages, when Latin dominated written communication. Increased contact led to borrowing, mixing and hybridization, some of it highly self-conscious (as in the case of ‘macaronic’ poetry and drama). Mixing in turn led to a ‘purist’ reaction, first in the case of Latin and then in the case of vernaculars such as Italian, French, German, Dutch and even – to a lesser extent – English.
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Bellomi, Paola. "El fénix sefardí. Sobre la existencia de un teatro judeo-ibérico en Italia (Proyecto E.S.THE.R.)." Sefarad 79, no. 2 (December 5, 2019): 447. http://dx.doi.org/10.3989/sefarad.019-013.
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Si bien la producción poética y narrativa sefardí es bien conocida, en Italia falta un estudio de la producción dramática, un género amado y atendido por el público sefardí. La tendencia de los estudiosos es considerar los primeros siglos de la diáspora como un período escasamente prolífico desde un punto de vista artístico, precisamente debido a las migraciones que involucraron a comunidades enteras. Por el contrario, en el caso italiano, algunos investigadores han hablado de un «Siglo de oro de las letras sefardíes», un florecimiento cultural que se justifica con la estabilidad socioeconómica que las comunidades alcanzaron entre los siglos XVI y XVII, una condición necesaria para que también la literatura pudiera desarrollarse en un ambiente no tan conflictivo; por ejemplo, el texto inédito Entremés de un dotor (1616) es un fruto de ese contexto. Por estas razones, en las páginas que siguen nos proponemos estudiar la influencia de la cultura sefardí en el teatro italiano, en particular centrándonos en el área de la Toscana, una región que, desde la expulsión, se transformó en un «puerto seguro» para los hebreos ibéricos. El objetivo es detectar la posible contribución de los sefardíes en el drama italiano desde finales del Renacimiento y el Barroco hasta la época moderna. Para acercarnos a nuestro objetivo, primero presentaremos una serie de reflexiones sobre la definición de «identidad sefardí» y después comentaremos algunas experiencias teatrales surgidas en el ámbito judeo-español italiano.
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Bernard, Enrico. "L’italiano ha mille anni: Spunti drammatici sull’origine della lingua e della letteratura italiane in occasione della svolta millenaria del nostro idioma." Forum Italicum: A Journal of Italian Studies 48, no. 3 (September 10, 2014): 551–61. http://dx.doi.org/10.1177/0014585814542583.
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La lingua italiana è nata circa un millennio fa dalla trasformazione della liturgia drammatica in dramma liturgico. Attori di questo processo sono stati i “comici” che hanno sviluppato il dramma per la comprensione liturgica e per intrattenere il pubblico su temi religiosi conosciuti. Si è innescato così un processo abbastanza rapido di delatinizzazione e “involgarimento” delle sacre rappresentazioni che, spostandosi dall’altare alle piazze, hanno preso la forma meno solenne di laudi e misteri buffi. Questo processo è stato però messo in ombra dal tentativo – che ha origini lontane, addirittura in Dante – di nobilitare e idealizzare la genesi dell’italiano distinguendo il volgare dal “dolce stil novo”. La dicotomia ha scatenato discussioni secolari sul dialetto, in particolare sul fiorentino, che per Dante rappresenta quell’idioma “illustre, regale, curiale, cardinale” che si differenzia dal volgare come lingua d’ élite, letteraria e burocratica. Questa interpretazione, contrastata da Petrarca e Machiavelli, finì per eclissare l’origine drammatica, teatrale, dell’italiano. Ciò ha comportato un’interpretazione puramente letteraria e “fiorentinocentrica” della nostra storia linguistica e la “miseria” del teatro italiano sempre considerato, secondo una linea che va da Dante a Croce, come uno strumento troppo “volgare” e rozzo per sublimarsi in letteratura.
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Aramburu Sánchez, Celia. "ARAMBURU, C. (Universidad de Salamanca): UGO BETTI, ‘CORRUZIONE AL PALAZZO DI GIUSTIZIA’. EL DRAMA, SU CONTEXTO Y SU TRADUCCIÓN." TRANSFER 7, no. 1-2 (March 3, 2012): 126–34. http://dx.doi.org/10.1344/transfer.2012.7.126-134.
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Corruzione al palazzo di giustizia es un drama muy polémico puesto que cuestiona la honestidad y la eficiencia de la justicia, uno de los pilares del estado moderno. Esta obra se estrenó en Roma en 1949. Por entonces, Italia atravesaba un momento culminante en su transformación como estado dentro del conjunto de Europa. La traducción española es de 1952, y se produjo durante la sexta legislatura del régimen de Franco, cuando aún estaba vigente la censura. En ese contexto resulta bastante extraño que un hombre de teatro como José Luis Alonso se atreviera a traducir y publicar un drama de Ugo Betti, que, leído entre líneas, podía suscitar suspicacias entre los censores.
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Titova, Halyna. "The Opera "The Barber of Seville" by Giocchino Rossini in Domestic Paradigms." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 217–32. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251823.
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The article reveals the stage interpretations of G. Rossini's "The Barber of Seville" on the Kyiv opera stage in the second half of the 20th — early 21st centuries by the directors Mykola Smolych (1944) and Dmytro Smolych (1955), Dmytro Hnatyuk (1979), (1990), A. Solovyanenko (2019). The author clarifies the relevance of the appeal to opera in the socio-cultural realities of today, substantiates the request of the audience of the information technology era on the chosen topic and the need to rethink the work at the beginning of the Romantic era in accordance with modern theater scene possibilities. The available musicological research of the opera drama "The Barber of Seville" in the context of the creative heritage of G. Rossini is mentioned in the article. A significant gap in the existing works on this topic is the fragmentary nature of scientific investigations of directorial interpretations of the composition in the musical theaters of Ukraine. The methodology of research of key aspects of opera is chosen: directorial incarnations of the specified period in the conditions of Ukraine — retrospective, interpretive; comparison of different domestic paradigms in the interpretation of the work — genre-stylistic, comparative; directions of development of domestic directing in the context of world tendencies — system analysis. The compositional construction of productions, their difference and proximity in relation to the original compositional source are analyzed. Individual approaches to the director's vision are revealed as well as features, principles of directing tasks and conceptual solutions to the reproduction of artistic images in the play. The performers of the parties in different stage incarnations are outlined. The personal directorial accents of the directors in the interpretation of "The Barber of Seville" on the Kyiv opera stage of the second half of the 20th — the beginning of the 21st centuries are determined, taking into account the specifics of theatrical aesthetics of the times of performances. The existence of certain "models", "examples", "paradigms", which were transformed under the influence of external and internal factors, is proved. The first two productions were embodied in the Ukrainian language against the background of traditional abbreviated musical material, simplifying the musical and stylistic structure of the opera buff. The last production is distinguished by a return to the original musical material — the opening of most bills and performance in Italian. The directions of development of domestic directing in the context of world tendencies are determined: original synthesis of traditional and innovative staging approaches in authentic versions of operas; the possibility of combining different styles, genres, forms in modern versions of opera in the context of postmodern aesthetics. The ways of further research of the chosen subject through the prism of synthesizing the experience of domestic and foreign directing with the use of stage design and innovative art technologies are predicted.
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Alonso Asenjo, Julio. "Teatro musical en festejos escolares hispánicos de la Edad Moderna." Rilce. Revista de Filología Hispánica 30, no. 1 (November 3, 2014): 19–43. http://dx.doi.org/10.15581/008.30.302.
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Partes o elementos musicales hubo regularmente en los festejos teatrales escolares. Pero, a partir de la aparición del teatro musical en Italia y su aceptación en las cortes en el siglo XVII, se montan también espectáculos musicales en festejos escolares del ancho mundo hispánico. En este artículo, tras breve introducción, se hace relación de esos espectáculos de alguna manera conocidos, hasta fines del siglo XVIII, clasificándolos por géneros (ópera, oratorio, zarzuela, drama músico, fiesta real), con referencias particulares al funcionamiento musical de El sacro nombre de Augusto, festejo escolar del Colegio de San Hermenegildo de Sevilla en 1749.
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Luque, Rocío. "La donna nel dramma italiano della seconda metà del XX Secolo." Estudios Románicos 27 (October 19, 2018): 197–209. http://dx.doi.org/10.6018/er/346641.
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Se la letteratura dagli anni Settanta del XX secolo, dapprima timidamente e poi con forza sempre maggiore, riesce a dare voce alla donna, a renderla visibile, il teatro la “rappresenta” in tutto il suo essere rivendicando il diritto di imporsi nel mondo, riconoscendole la capacità di incidere nel tessuto sociale e di operare trasformazioni epocali. È innegabile difatti che il teatro, nascendo da pulsioni d’ordine antropologico nella cui zona di confine s’intersecano generi e linguaggi molteplici, dia vita così ad un processo di sintesi e di contaminazioni in cui si perpetua, con le gesta di personaggi più o meno mitici, una saggezza popolare che si ravviva secondo tecniche e modelli della comunicazione orale, specie femminile.