Tancredi Gusman
Titoli dell'autore
Ciò che resta della presenza: Marina Abramovic˙ tra unicità e ripetizione
digital
Anno:
2014
Il lavoro di Marina Abramovic´ è intimamente connesso alla questione della presenza, al qui e ora in cui l’azione artistica si realizza nella forma di una relazione aperta e dall’esito non predeterminabile. All’inizio degli anni Settanta la giovane artista di Belgrado presenta performance che rompono in modo radicale con il concetto tradizionale di opera d’arte e si propongono come eventi che esistono solo nel tempo del loro accadere strettamente legato al materiale effimero e mutevole che è il corpo dell’artista...
€ 4,00
Una nota sull’estetica del performativo di Erika Fischer-Lichte - On Erika Fischer’s performative Aesthetics: a note
digital
Anno:
2014
This paper presents a number of topics related to the aesthetic model proposed by Erika Fischer-Lichte’s book The Transformative Power of Performance: A New Aesthetics...
€ 6,00
‘Trauerspiel’ e tragedia nell’«Origine del dramma barocco tedesco» di Walter Benjamin
digital
Anno:
2009
L’essai propose une hypothèse pour l’interprétation de l’Origine du drame baroque allemand de Walter Benjamin. L’histoire et l’analyse des formes dramatiques, contenues ici, sont considérées comme le moyen pour l’affichage d’une philosophie de l’histoire théologique mais pas téléologique. L’essai se concentre premièrement sur l’analyse de la notion d’origine (Ursprung), et explique ensuite les grandes lignes de l’oeuvre de Benjamin: la tragédie grecque est considérée comme la rédemption limitée et la prophétie d’un nouvel ordre, le Trauerspiel comme expression d’un regard et mélancolie qui émane de la sécularisation de la perspective religieuse médiévale. Dans le cadre de l’Exposition, une attention particulière doit être consacrée à trois moments: l’influence de Florens Christian Rang, avec une attention particulière à la signification des concepts d’agon et prophétie; l’interprétation de la fin de la tragédie et le personnage de Socrate; la présentation de la forme d’expression allégorique et de sa dialectique. L’essai tente de montrer, à travers ces trois étapes, l’horizon à partir duquel Benjamin pense l’histoire, la complexe articulation historico-critique de la tragédie et Trauerspiel dans l’oeuvre, et, enfin, l’importance historique et politique de l’interprétation offerte par Benjamin.
SUMMARY
The essay provides a hypothesis for the interpretation of the Origin of the German Mourning Play, written by Walter Benjamin. The history and analysis of the dramatic forms, contained herein, are seen as a medium to enunciate a philosophy of History in a theological rather than teleological terms. The essay focuses on the analysis of the concept of origin (Ursprung) and goes on to explain the main themes of Benjamin’s work: the Greek tragedy is viewed as a limited redemption and the prophecy of a new order, Trauerspiel, as an expression of a melancholic outlook that originates from the secularization of the medieval religious perspective. Special attention is devoted to three moments: the influence of Florens Christian Rang, with particular regard to the meaning of the concepts of agon and prophecy; the interpretation of the end of the tragedy and the role of Socrates; the presentation of the allegorical form of expression and its dialectic. The essay tries to show, through these three stages, the point of reference from which Benjamin conceived the story, the complex historical- critical formulation of tragedy and Trauerspiel within the work, and finally, the historical and political meaning of the interpretation offered by Benjamin.
€ 6,00
La polemica intorno alla messinscena di «Vita di Galileo» di Strehler
digital
Anno:
2008
This article reconstructs, through the documents filed in the Historical Archive of the Piccolo Teatro, the controversy
which involved the theatrical institution during the staging of Vita di Galileo in april 1963. Part of the
catholic world of Milan considered the performance offensive for the religious sensibility and judged the artistic
and cultural orientation of the Piccolo Teatro as unsuitable to its role of public service. Criticisms and pressures
pushed Grassi and Strehler to introduce some modifications in the most discussed scenes of the show and
in the program of 1962/1963 Season. The idea that a theatre managed by the public administration should
respect a cultural pluralism seems, in the context of the debate, to stand against the principle of autonomy of
the artistic expression. The conflict between opposed opinions shows the difficulty in balancing pluralism and
autonomy in a model in which the role of the public theatre is entrusted, in the city, to a single theatre body.
€ 6,00
La polemica intorno alla messinscena di «Vita di Galileo»
digital
Anno:
2008
Lettere di/a Paolo Grassi intorno alla messinscena di «Vita di Galileo».
€ 6,00
News
18.03.2024
La cura di sé, dell'altro, del mondo
Martedì 19 marzo a Lecco, la presentazione del libro di Luigina Mortari al festival LeggerMente.
07.03.2024
Noemi Satta: i due appuntamenti in Sardegna
Martedì 19 marzo e Mercoledì 20 marzo, le presentazioni di "La cultura cura" al Festival Liquida.
26.02.2024
I giovani in solitaria ricerca di Dio, lontani dalla Chiesa
Le giovanni donne sempre più lontane, i giovani in solitaria ricerca, il dovere degli adulti di mettersi in ascolto: Paola Bignardi racconta il libro-inchiesta "Dio, dove sei?".
26.02.2024
Il tempo dell'annuncio
Un estratto dal libro del teologo Tomáš Halík "Un tempo per piantare e un tempo per sradicare. Quaresima e Pasqua di un'epoca inquieta".