The article (in reference to a previous work, Per un’ecologia delle nozioni di lavoro. L’identificazione dell’attore con il personaggio, «Acting Archive Review», n. 7, May 2014) explores two notions: «distacco» (detachment: to express the character’s feelings the actor must make no recourse to his own feelings), and «dislocazione» (dislocation: the actor’s presence remains visible beside the performed character). The two notions, mostly confused and related to Brecht’s alienation-effect, were actually independently born in the late XVIIIth and early XIXth centuries, well before Brecht’s a-effect theory was conceived. They were both developed to answer a key question of the theory of acting of the time: how to perform on stage a character that is hardly representable (a tragic character whose powerful expressions, acts, attitude cannot be performed with the actor’s simple human means; or an evil character whose wickedness is unbearable to the audience moral delicacy). The «distacco» was firstly introduced by Antoine-François Riccoboni in 1750, and then developed by Diderot in his Paradoxe sur le comédien, the «dislocazione» was described by Charls Lamb who in his article Imperfect Dramatic Illusion (1825) put in question two effects usually required to the acting: the «dramatic illusion» (the spectator must to some degree feel like real what happens on stage), and the «fourth walls» (the actor performing the character must look totally unconscious of the audience presence).
Claudio Vicentini è Professore Emerito di Storia del Teatro moderno e contemporaneo presso l’Università di Napoli ‘L’Orientale’. Ha scritto L’estetica di Pirandello (Milano, Mursia, 1970), Studio su Dilthey (Milano, Mursia, 1974), La teoria del teatro politico (Firenze, Sansoni, 1981), Pirandello. Il disagio del teatro (Venezia, Marsilio, 1993), L’arte di guardare gli attori (Venezia, Marsilio, 2007), La teoria della recitazione dall’antichità al Settecento (Venezia, Marsilio, 2012). firstname.lastname@example.org