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El. knyga: Poetry on Stage: The Theatre of the Italian Neo-Avant-Garde

  • Formatas: 472 pages
  • Serija: Toronto Italian Studies
  • Išleidimo metai: 10-Aug-2020
  • Leidėjas: University of Toronto Press
  • Kalba: eng
  • ISBN-13: 9781487534615
  • Formatas: 472 pages
  • Serija: Toronto Italian Studies
  • Išleidimo metai: 10-Aug-2020
  • Leidėjas: University of Toronto Press
  • Kalba: eng
  • ISBN-13: 9781487534615

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"Poetry on Stage focuses on exchanges between the writers of the Italian neo-avant-garde with the actors, directors, and playwrights of the Nuovo Teatro. The book sheds light on a forgotten chapter of twentieth-century Italian literature, arguing that the theatre was the ideal incubator for stylistic and linguistic experiments and a means through which authors could establish direct contact with their audience and verify the solutions they were devising to the practical and theoretical problems raised bytheir stances in politics and poetics. A robust textual analysis of a number of exemplary texts grounds these issues in the plays and poems produced at the time, and connects them with the experimentations subsequently carried out by some of the same artists. In-depth interviews with four of the most influential figures in the field - critic Valentina Valentini, actor and director Pippo Di Marca, author Giuliano Scabia, and the late poet Nanni Balestrini - conclude the volume, providing an invaluable first-hand testimony that brings back to life the people and controversies discussed."--

Poetry on Stage focuses on exchanges between the writers of the Italian neo-avant-garde with the actors, directors, and playwrights of the Nuovo Teatro. The book sheds light on a forgotten chapter of twentieth-century Italian literature, arguing that the theatre was the ideal incubator for stylistic and linguistic experiments and a means through which authors could establish direct contact with their audience and verify solutions to the practical and theoretical problems raised by their stances in politics and poetics. A robust analysis of a number of exemplary texts grounds these issues in the plays and poems produced at the time and connects them with the experimentations subsequently carried out by some of the same artists.


In-depth interviews with four of the most influential figures in the field – critic Valentina Valentini, actor and director Pippo Di Marca, author Giuliano Scabia, and the late poet Nanni Balestrini – conclude the volume, providing invaluable first-hand testimony that brings to life the people and controversies discussed.



Based on meticulous research in the archives of some of the most prominent Italian avant-garde writers, Poetry on Stage examines the literary and ideological climate of the sixties and seventies.



Poetry on Stage focuses on exchanges between the writers of the Italian neo-avant-garde with the actors, directors, and playwrights of the Nuovo Teatro. The book sheds light on a forgotten chapter of twentieth-century Italian literature, arguing that the theatre was the ideal incubator for stylistic and linguistic experiments and a means through which authors could establish direct contact with their audience and verify solutions to the practical and theoretical problems raised by their stances in politics and poetics. A robust analysis of a number of exemplary texts grounds these issues in the plays and poems produced at the time and connects them with the experimentations subsequently carried out by some of the same artists.

In-depth interviews with four of the most influential figures in the field – critic Valentina Valentini, actor and director Pippo Di Marca, author Giuliano Scabia, and the late poet Nanni Balestrini – conclude the volume, providing invaluable first-hand testimony that brings to life the people and controversies discussed.

Recenzijos

"The copious literature on the poetic Neoavanguardia has long obscured a clearly necessary analysis of parallel experiences of the same authors. This monograph decentralises the anthologies that have now been canonized, and to which the critical attention is almost utterly devoted, and has the potential to inaugurate a more diffuse consideration of the understudied theatre (re-)writings."

- Marzia DAmico, University of Oxford (Annali ditalianistica)

Acknowledgments vii
Note on Terminology ix
Introduction 3(10)
1 Why the Theatre? The Role of the Stage in the Theoretical Debate Surrounding the Poetry and Poetics of the Neo-Avant-Garde
13(89)
1.1 A Bitter aperitivo
13(5)
1.2 A Knot of Theoretical and Practical Issues
18(7)
1.3 Contemporary Press Coverage
25(8)
1.4 Poetry and the Stage
33(15)
1.5 The Example of Pagliarani
48(22)
1.6 Sanguineti and the Theatre of the Neoavanguardia
70(6)
1.7 A "Manifesto minimo" for a Teatro dei Novissimi
76(17)
1.8 II Verri's inchiesta "Sul teatro"
93(9)
2 The Italian Stage in the 1960s
102(59)
2.1 Carmelo Bene
105(5)
2.2 Mario Ricci
110(10)
2.3 Carlo Quartucci
120(7)
2.4 Giuliano Scabia
127(8)
2.5 After 1965
135(6)
2.6 The Evolution of Quartucci's and Scabia's Theatre
141(3)
2.7 Brecht and "Brechtismo"
144(1)
2.8 Artaud and the Living Theatre
145(3)
2.9 The Convegno di Ivrea
148(10)
2.10 Pasolini and the "Teatro di Parola"
158(3)
3 A Few Theoretical Notes on Breath and Text: Antonio Porta and Giuliano Scabia
161(58)
3.1 An Ambivalent Relation
161(3)
3.2 Reasons for Convergence and Divergence
164(4)
3.3 The Words of "corpo-voce": Oral versus Written
168(13)
3.4 The Changing Status of the Text
181(5)
3.5 Giuliano Scabia: An Extreme, Exemplary Path
186(7)
3.6 Antonio Porta's Hungry Verse
193(16)
3.7 The "Battle of Castelporziano"
209(10)
4 An Introduction to Pagliarani's Theatre
219(32)
4.1 Theatre as "Verification"
222(9)
4.2 Languages and Characters
231(7)
4.3 The Function of the Chorus
238(4)
4.4 Exempla Devoid of Moral
242(9)
5 Collaborations and Convergences: Pagliarani, Giuliani, Celli, and Sanguineti
251(72)
5.1 Giuliani and "II teatro dei Novissimi"
251(10)
5.2 Pelle d'Asino, according to Perrault
261(2)
5.3 Grottesco per musica
263(2)
5.4 The Play's General Plan
265(2)
5.5 Act Two Manuscripts
267(2)
5.6 The Comparison with Giuliani's Povera Juliet ("Poor Juliet")
269(3)
5.7 The Rewriting of Jarry's Ubu Roi
272(1)
5.8 Ubu's Intertextuality
273(4)
5.9 Ubu's Language: Interpretations and Puppets
277(5)
5.10 Jarry's Reception in Italy
282(4)
5.11 Seneca, Nero, and the Land Surveyor K.
286(4)
5.12 The Rewriting of Faust by Pagliarani and Celli
290(30)
5.13 Conclusions
320(3)
Interviews
Interview with Valentina Valentini
323(14)
Interview with Pippo Di Marca
337(12)
Interview with Nanni Balestrini
349(8)
Interview with Giuliano Scabia
357(18)
Notes 375(50)
Works Cited 425(16)
Index 441
Gianluca Rizzo is the Paul D. and Marilyn Paganucci Associate Professor of Italian Language and Literature at Colby College.