[Autom. eng. transl.] Today we are used to considering theater as the fusion of different aspects: the text, the direction and the acting. In reality, what now seems obvious to us is the result of a radical transformation that matured in Italy at the end of the nineteenth century (to be precise between 1860 and 1890). As Gaetano Oliva shows us in this book, in fact, before it was the actor who dominated: the parts were built, the direction was organized and often the text changed in the way he believed the text so as to be able to excel. It was very common that the texts of Shakespeare or Ibsen or Chekhov were cut and assembled according to the needs of the actor (who often also changed the final, so as to be able to count on a closed for effect). It was only in the second half of the nineteenth century that the new figure of the professional playwright began to take shape, that he was not in the stable service of a company, nor did he want to write for actors or chief actors, but intended to produce original texts. The sunset of the Great Actor left space for the birth of a new figure: that of the director. He was the expert in charge of the general supervision of the work and was the one who acquired the task of interpreting the idea of the author, acting as an intermediary between the text and the actor. The Italian theatrical literature and the actor's art reconstructs a delicate and complex historical passage that leads to a radically new conception of theater: the one we know today.
|Translated title of the contribution||[Autom. eng. transl.] Italian theatrical literature and the art of the actor. 1860-1890|
|Number of pages||330|
|Publication status||Published - 2011|
- Letteratura Teatrale
- Pedagogia Teatrale