Albert Camus e il teatro di un uomo in rivolta

digital

Articolo

rivista	COMUNICAZIONI SOCIALI
fascicolo	COMUNICAZIONI SOCIALI - 2020 - 2. Learning from the Virus: The Impact of the Pandemic on Communication, Media and Performing Arts Disciplinary Fields. A Round-Table
titolo	Albert Camus e il teatro di un uomo in rivolta
autore	Marta Marchetti
editore	Vita e Pensiero
formato	Articolo \| Pdf
online da	10-2020
doi	10.26350/001200_000055
issn	03928667 (stampa) \| 18277969 (digitale)
Scrivi un commento per questo prodotto

€ 6,00

Ebook in formato Pdf leggibile su questi device:

Computer
con Software:
- Adobe PDF Reader
Android
iPhone/Ipad
con App:
- Adobe PDF Reader
E-Book Reader
Ibs Tolino
Kobo

Descrizione Commenti dei lettori
In this paper we shall look Camus’ last text on dramatic art in order to introduce his most general thought about the deep and problematic relationship that exists between theatre, life and political action. Perché faccio teatro? [«Why do I deal with theatre?») is a speech that Camus prepared for a television broadcast transmitted on May 12 1959: the author not only explained where his profound passion for drama came from, but also explicitly answered critics who had accused him of backing out of his role of intellectual, due to his increasingly intensive engagement on the Parisian stages. Still, at that very politically critical time, Camus’ poetics gave a stronger and stronger importance to drama, not only as the place where political engagement and pleasure might find balance, but also for its innate capability of putting man in an experimental human and identity condition, plural and free from any monism. His “I rebel, therefore we are” is not only the statement of a thinker but also the claim of a playwright who, in a rather rhetorical way, asks himself and asks us: “is not the life on the stage a good formula for the future society?”. In this sense, his activity in the late 50s, which mainly focused on dramatic direction, proves that at that time Camus foresaw staging practice as much more than a metaphor of a political action, dominated by Gramscian intellectual positions: he considered it as the very way for experimenting (word for word) a communitarian practice through which he would carry on the research of the tragical emotion that he had already approached in his dramaturgy. By reflecting about this project of life, which was abruptly interrupted by the writer’s premature death (1960), it is possible to outline an idea of theatre that Camus more precisely defined during his last years but which had been, since the beginning, the source of Camus’ being an artist. keywords Intellectual; revolt; direction; theatre; life; Les Possédés. Inserisci un commento per Albert Camus e il teatro di un uomo in rivolta

Chi ha visto questo prodotto ha guardato anche... Problemi fondamentali dell'ontologia analitica € 23,00 Crantor’s Influence on Roman Consolatory Tradition the Case of Cicero € 6,00 Sorting, Social Comparison and Women’s Job Satisfaction Scarica Four Italian Media Repertoires between Legacy, Social and Digital Media € 6,00

News

11.02.2021

Demonumentalizzare Dante per comprenderlo

Anteprima del libro "Dante in Conclave. La Lettera ai cardinali" dello storico Gian Luca Potestà.

09.02.2021

Webinar: L’epoca della Beautytudine

Mercoledì 24 febbraio Giuliano Zanchi e Silvano Petrosino raccontano la parabola della bellezza nel nostro secolo, da Dostoevskij alle serie tv.

22.02.2021

Armida Barelli e il miracolo del Sacro Cuore

Ad Armida Barelli, prima amministratrice di Vita e Pensiero presto beata, si deve l'intitolazione dell'Università Cattolica al Sacro Cuore, la storia.

16.02.2021

Il prezzo di un futuro con bambini-merce

Intervista ad Alessio Musio, docente di Filosofia morale dell'Università Cattolica, autore di "Baby boom".