Poetry on stage : the theatre of the Italian neo-avant-garde /

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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 sty...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Rizzo, Gianluca (Autor)
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Toronto ; Buffalo : University of Toronto Press, 2020.
Colección:Toronto Italian studies.
Temas:
1900-1999
Experimental drama, Italian > History and criticism.
Italian drama > 20th century > History and criticism.
Théâtre expérimental italien > Histoire et critique.
Théâtre italien > 20e siècle > Histoire et critique.
LITERARY CRITICISM / Drama
Experimental drama, Italian
Italian drama
Gruppo 63.
Italian literature.
Nuovo Teatro.
avant-garde theatre.
experimental.
neo-avant-garde.
oral.
performance.
poetry.
political poetry.
political theatre.
theatre.
transmedia.
Criticism, interpretation, etc.
Acceso en línea:Texto completo
Tabla de Contenidos:
  • Cover
  • Copyright
  • Contents
  • Acknowledgments
  • Note on Terminology
  • Introduction
  • 1 Why the Theatre? The Role of the Stage in the Theoretical Debate Surrounding the Poetry and Poetics of the Neo-Avant-Garde
  • 1.1 A Bitter aperitivo
  • 1.2 A Knot of Theoretical and Practical Issues
  • 1.3 Contemporary Press Coverage
  • 1.4 Poetry and the Stage
  • 1.5 The Example of Pagliarani
  • 1.6 Sanguineti and the Theatre of the Neoavanguardia
  • 1.7 A "Manifesto minimo" for a Teatro dei Novissimi
  • 1.8 Il Verri's inchiesta "Sul teatro"
  • 2 The Italian Stage in the 1960s
  • 2.1 Carmelo Bene
  • 2.2 Mario Ricci
  • 2.3 Carlo Quartucci
  • 2.4 Giuliano Scabia
  • 2.5 After 1965
  • 2.6 The Evolution of Quartucci's and Scabia's Theatre
  • 2.7 Brecht and "Brechtismo"
  • 2.8 Artaud and the Living Theatre
  • 2.9 The Convegno di Ivrea
  • 2.10 Pasolini and the "Teatro di Parola"
  • 3 A Few Theoretical Notes on Breath and Text: Antonio Porta and Giuliano Scabia
  • 3.1 An Ambivalent Relation
  • 3.2 Reasons for Convergence and Divergence
  • 3.3 The Words of "corpo-voce":Oral versus Written
  • 3.4 The Changing Status of the Text
  • 3.5 Giuliano Scabia: An Extreme, Exemplary Path
  • 3.6 Antonio Porta's Hungry Verse
  • 3.7 The "Battle of Castelporziano"
  • 4 An Introduction to Pagliarani's Theatre
  • 4.1 Theatre as "Verification"
  • 4.2 Languages and Characters
  • 4.3 The Function of the Chorus
  • 4.4 Exempla Devoid of Moral
  • 5 Collaborations and Convergences: Pagliarani, Giuliani, Celli, and Sanguineti
  • 5.1 Giuliani and "Il teatro dei Novissimi"
  • 5.2 Pelle d'Asino, according to Perrault
  • 5.3 Grottesco per musica
  • 5.4 The Play's General Plan
  • 5.5 Act Two Manuscripts
  • 5.6 The Comparison with Giuliani's Povera Juliet ("Poor Juliet")
  • 5.7 The Rewriting of Jarry's Ubu Roi
  • 5.8 Ubu's Intertextuality
  • 5.9 Ubu's Language: Interpretations and Puppets
  • 5.10 Jarry's Reception in Italy
  • 5.11 Seneca, Nero, and the Land Surveyor K.
  • 5.12 The Rewriting of Faust by Pagliarani and Celli
  • 5.13 Conclusions
  • Interviews
  • Interview with Valentina Valentini
  • Interview with Pippo Di Marca
  • Interview with Nanni Balestrini
  • Interview with Giuliano Scabia
  • Notes
  • Works Cited
  • Index

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