Federico Tiezzi can be considered as one of the major representative of the current theatre direction. He began his theatrical journey during the rising of the so-called ‘Neoavanguardie’, then he experienced various periods in which his style level rose to an original and visionary one; a style which gradually returned to the abandoned narrative trace. Together with the direction, he progressively developed a pedagogical activity too, that this paper intends to focus on. An activity which found his organic structure starting with the Laboratorio di Prato (2007/2009) and which has recently been called Laboratorio della Toscana. This paper wants to retrace the different stages Tiezzi went through to found the first workshop in 2007; from the Divina Commedia experience (1989/1991) to the investigation focused on Amleto (1998/2000). Thanks to a significant amount of official documents (like articles, videos and books) concerning the workshops from 2007, and the possibility of supporting practice through the direct observation of some steps of the latest workshops, the paper analyses their methodological structure and tries to provide a model of pedagogy for an actor in its full maturity.


Carla Russo è dottore di ricerca in Storia del Teatro Moderno e Contemporaneo. È cultore della materia in Storia del Teatro Moderno e Contemporaneo presso la cattedra di Storia del Teatro dell’Università degli Studi di Napoli ‘L’Orientale’. I suoi ambiti di ricerca sono incentrati sul teatro contemporaneo, con particolare attenzione alla pedagogia dell’attore e alla regia. Tra le sue pubblicazioni: La costruzione dell’oralità nell’operazione teatrale di Emma Dante (in L’oralità sulla scena, M. Arpaia, A. Albanese, C. Russo (a cura di), Napoli, Il Torcoliere, 2015); Federico Tiezzi, Sandro Lombardi e i mondi teatrali di Giovanni Testori (in La scena dell’oralità, A. Anastasi, V. Di Vita (a cura di), Messina, Corisco Editore, 2015). carlarusso80@icloud.com


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