ABSTRACT

Lorenzo Mango, La Nuova Critica e la recitazione
With «Nuova Critica» we intend to refer to a group of Italian critics – starting
from Giuseppe Bartolucci, Ettore Capriolo, Edoardo Fadini and Franco Quadri
, the organizers of the Convention for a New Theatre in Ivrea 1967 – who, in
the 1960s, support and promote the New Theatre. The «Nuova Critica» starting
point is the desire to create a system of interpretation capable of critically
representing in the best possible way the linguistic revolution of artists like
Carmelo Bene, Carlo Quartucci, Leo de Berardinis in Italy and the Living
Theatre in the international one. Their target was to critically read the play in a
new way, including all the languages of the stage to create a new standard of
dramaturgy. In this context, acting is considered as one of the many signs of
the play and is retraced back to the dimension of body and voice. Therefore it
is not subject to an isolated critic focus but in an entirely new and global
fashion, as the attention shiftsfrom the interpretation of the character to stage
action.
Daniela Visone, Carmelo Bene. Un attore artifex agli esordi tra provocazione e
conformismo borghese
Since his early debuts, Carmelo Bene was for Italian criticism a controversial
issue on account of the novelty of his acting style. Most critics appreciated his
discoveries but refused to analyze them in the context of the linguistic
deflagration triggered by his theatre, denying his research a specific
methodological approach. Neutralizing its modus operandi, official critics tend
to judge his performances as a provocation, as bourgeois conformism, or
minimize them as eccentricities, thus contributing to the construction of Benephenomenon.
As there is not yet an official and0 adequate methodology of
critical reading and interpretation, it is very significant that together with the
rise of a new theatrical language, on the pages of «Sipario» moves its first steps
a new militant criticism led by Quadri-director of the journal since 1962 –
Augias, Bartolucci, Capriolo, Fadini, Achille Mango; this militant criticism not
only begins to pay its attention to the new linguistic phenomena – by attending
the places where it emerged (the so called ‘cantine romane’) –, but found in
them an important stimulus to the development of a new critical language. In
the mid-1960s, Giuseppe Bartolucci, who considered Bene the leader of a new
form of theatre, summarized and defined the principles of Bene’s experiences
in a precise style that can be defined as a form of «total stage writing».
Salvatore Margiotta, Il Living Theatre in Italia: la critica
Since the late 1960s, in the context of experimental theatre, a process of epochal
transformation of the scene begins. New Theatre not only provides a new idea
of spectacle, proposing innovative acting techniques and experimental space
design, but also triggers a movement of renewal in Italian theatre culture,
marking an important moment for the study of the neo-avant-garde’s work.
Grotowski, Living Theatre, Open Theatre, Bread and Puppet, Kantor’s Cricot 2,
Robert Wilson, Odin Teatret, Peter Stein and the Théâtre du Soleil toured Italy
and played an important role in the critical debate. In particular, the presence
of Living Theatre, which resided in Italy at various times starting from 1961,
was a source of great stimulus for the question of acting in modern theatre.
The article presents documents on the Living Theatre published in important
reviews like «Il Dramma», «Sipario», «Teatro», demonstrating the importance
of the contribution by militant critics to the critical debate.
Mimma Valentino, Un’inchiesta di «Sipario»
During the 60’s, the theatrical scene – and, as a consequence, criticism as a way
to interpret contemporary theatre – has undergone a process of radical
rethinking. These changes have affected the actor, his creative capacities and
specific skills as well. The essay aims to offer a reconstruction of how, in the
mid 1960s, «Sipario», one of the most important theatrical journal, dealt with
the question of acting. More specifically, the focus is on a review of 1965,
edited by Franco Quadri and Giuseppe Bartolucci, which offers a vivid picture
of the Italian acting scene. The dossier represents both an accurate account of
acting problems as an interesting reflection on the future of acting. In
examining controversial, issues such as the relationship of actors and the
director and acting in experimental performances, the article also shows how
difficult it has been for a different view of theatre and acting to take shape.

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