ABSTRACT

Paola Degli Esposti analyzes two puppet plays by Edward Gordon Craig, Romeo and Juliet and Blue Sky. After considering their more evident metatheatrical innuendos – allusions to acting, to Craig’s own biography and his criticism of contemporary drama, to his conception of the art of the theatre, among others – she focuses her attention on some underlying motifs. The connection of Craig’s Berlin experiences in 1905 with these two plays, and the relevance of Yeats’ play Where There is Nothing for an interpretation of Blue Sky are fundamental elements of her analysis; Craig’s reflections on Commedia dell’Arte also emerge as essential tools for the investigation of the two plays. Her thesis is that a dramatization in of Craig’s The Actor and the Über Marionette – and of his acting theory in general – can be detected in the two dramas, underneath layers of metatheatrical meanings; Romeo and Juliet, in her view, would correspond to the early period of crisis in theatre history when the puppet lost his sacred aura and human theatre began, as portrayed by Craig in his essay, while Blue Sky would represent the celebration of the rising of the ÜberMarionette.

BIOGRAFIA

Paola Degli Espositi è ricercatrice in Discipline dello spettacolo presso l’Università di Padova, dove insegna Teoriche delle arti performative. Ha pubblicato saggi sul teatro romantico e ottocentesco, sulla preregia e sulla regia primonovecentesca. Ha scritto La scena del Romanticismo inglese (Padova, Esedra, 2001-2003), La scena tentatrice. Coleridge, Byron, Baillie (Padova, Esedra, 2008) e La tensione preregistica. La sperimentazione teatrale di Philippe-Jacques de Loutherbourg (Padova, Esedra, 2013). gandalf@unipd.it

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