Itinera <p><strong>Rivista di filosofia e di teoria delle arti.&nbsp;</strong><strong>Nuova serie (</strong><strong>ISSN 2039-9251)</strong></p> <p><strong><br></strong>La rivista ospita articoli di estetica, filosofia morale, storia della filosofia, teoria delle arti e del teatro.</p> Università degli Studi di Milano it-IT Itinera 2039-9251 <p>Gli autori che pubblicano su questa rivista accettano le seguenti condizioni:</p> <p>1. Gli autori mantengono i diritti sulla loro opera e cedono alla rivista il diritto di prima pubblicazione dell'opera, contemporaneamente licenziata sotto una <a href="">Licenza Creative Commons - Attribuzione - Non commerciale - Non opere derivate 3.0 Italia</a> che permette ad altri di condividere l'opera indicando la paternità intellettuale e la prima pubblicazione su questa rivista.</p> <p>2. Gli autori possono aderire ad altri accordi di licenza non esclusiva per la distribuzione della versione dell'opera pubblicata (es. depositarla in un archivio istituzionale o pubblicarla in una monografia), a patto di indicare che la prima pubblicazione è avvenuta su questa rivista.</p> <p>3. Gli autori possono diffondere la loro opera online (es. in repository istituzionali o nel loro sito web) prima e durante il processo di submission, poiché può portare a scambi produttivi e aumentare le citazioni dell'opera pubblicata (Vedi The Effect of Open Access).</p> Introduzione <p>This special issue gathers some of the papers presented on occasion of the international conference Women Representing Women in Theatre, held at the University of Milan on 20th-21th May 2019. With no pretence of being exhaustive and adopting a diachronic perspective, the following contributions examine women’s theatre in Italy in the last five decades—from the educational theatre of the early 1900s to the feminist dramaturgy and from the literary rendition of intergenerational conflicts to contemporary rewritings of the patriarchal script. Their differences notwithstanding, all the dramaturgical forms examined in this issue share a marked concern for existing (theatrical and social) conventions and the willingness for their authors to reclaim new form of self-representation — indeed, a stage of their own.</p> Maria Morelli Copyright (c) 2019-12-30 2019-12-30 18 Alla ricerca delle drammaturghe perdute <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Most of the academic articles that look at the development of 20th century Italian women’s theatre begin with a discussion of the dramatic works of narrators such as Natalia Ginzburg and Dacia Maraini, or performers such as Franca Valeri and Franca Rame. In this article, I claim that an alternative path for the discovery of Italian women playwrights can be found by visiting libraries and archives and looking for women dramatists as authors of theatrical genres often considered minor: radio dramas and the educational plays. After an analysis of the two genres, I look at the careers of three women playwrights that started as writers for radio or educational plays and went on to have successful careers in TV adaptations (Anna Luisa Meneghini), children’s theatre (Gici Ganzini Granata) and the major theatre (Clotilde Masci).</p> </div> </div> </div> Daniela Cavallaro Copyright (c) 2019-12-30 2019-12-30 18 Teatro e danza su effe (1973-1982): la rivista come archivio del discorso femminista sulla corporeità <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>effe was the most important voice of Italian feminism during the Seventies. The magazine shared its premises with the feminist Teatro della Maddalena, in Rome, and dealt at large with women’s cultural production, including the performing arts — from theatre to dance, from happenings to community art. Through effe, the critique regarding woman’s body in the public sphere (a key-instance of the Women’s Movement) developed also through articles and chronicles about the stage. This essay argues that such discourse moved between two poles: the radical critique of the commodification of naked actresses on theatrical stages (pars destruens), and, on the other hand, the intellectual appreciation of dance as a site for a female reappropriation of woman’s body (pars costruens).</p> </div> </div> </div> Roberta Gandolfi Copyright (c) 2019-12-30 2019-12-30 18 «Non sono una madre come si deve»: Terremoto con madre e figlia di Fabrizia Ramondino <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Using the interruption of menstruations in the mother and still absent in the daughter as physical evidence of the broken relationship between the two women protagonists of Terremoto con madre e figlia, my reading of the play reflects on the economy of such relationship. The mother historicizes the years of feminist and political commitment and her dedication to teaching through the presence of her daughter who completely refuses her mother’s teachings. Yet, the presence of the daughter serves as an alibi – from another dimension – for the author to autobiographically reflect on the horizon of the most important events of her existence. Relational contingency allows the mother to build her personal testimony of the Utopia of the Sixty-eight.</p> </div> </div> </div> Stefania Lucamante Copyright (c) 2019-12-30 2019-12-30 18 Performance queer drag: Senith e la sperimentazione faux queen in Italia <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>This article is centred on the faux queen experimental theatre by Italian artist Senith, and on the links between this theatre and queer feminist activism in Italy. Senith is a queer drag performer from Rome, and the co-founder of the former queer drag king group Eyes Wild Drag. After the group disbanded in 2015, Senith has been performing as a solo artist in shows such as BAD ASSolo (2016) and Lo Schizzo (2017) [Squirting]. She has also been developing, transforming and enriching projects originally born within Eyes Wild Drag such as the Erotic Lunch and the Queerrida. The article will concentrate on Senith’s faux queen experimentations, trying to understand how the genre is translated/adapted for the Italian scenario and what Senith is trying to achieve with it. In doing so the article will discuss the notion of queer femininity, otherwise known as Fem or femme (Serano 2007; Dahl 2009), its genealogy within lesbian feminism, and the connection between the themes developed by faux queen performances in general and those discussed in queer transfeminist activist scenarios in Italy. These are, in particular, the invisibility of the Fem, misogyny, slut-shaming, sexism, and women’s control over their body and sexuality.</p> </div> </div> </div> Michela Baldo Copyright (c) 2019-12-30 2019-12-30 18 Manet y sus teóricos. Ideologías estéticas en los orígenes de la pintura moderna <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>It is analysed in these lines how the "aesthetic ideologies" of three fundamental authors, Baudelaire Zola and Mallarmé, intervened in the mythification of Manet as the origin of modern painting. Each one of these ideologies held points of view that the passage of time has assimilated in the notion of "the modern", and all three gather most of the interpretations that this painter has received from the current historiography. A constellation of regulatory ideas is thus composed, with which the notion of modernity is defined.</p> </div> </div> </div> Luis Puelles Romero Copyright (c) 2019-12-30 2019-12-30 18 Dal disgusto fisiologico al disgusto morale: una fruizione possibile <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Through the aesthetic and cinematographic analysis of the film The Elephant Man by David Lynch it is shown how the relationship between physiological and moral disgust allows an aesthetic fruition of disgust. By focusing attention on the specific characteristics and laws that regulate disgust, it will be possible to observe how an aesthetic appreciation of disgust is possible, highlighting the problems that it implies.</p> </div> </div> </div> Luca Maria Marucchi Copyright (c) 2019-12-30 2019-12-30 18 Dentro le mura di Collemaggio. La fotografia psichiatrica tra uso e abuso <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>This research is the first of its kind in addressing the story and the internal affairs of the former Psychiatric hospital of Collemaggio, Aquila. A few years ago a collection of pictures of the patients was found within the walls of the Hospital. This study aims at analysing the different iconography that the pictures represent, to put them inside the historical evolution of psychiatric photography. This was made possible by the papers collected by the Association 180 Amici-L’Aquila. The second objective of this study is the iconographic comparison between the healthy state of the patients before and after the closure of the Hospital.</p> </div> </div> </div> Federica Aricò Copyright (c) 2019-12-30 2019-12-30 18 Oltre le mura. Alla scoperta dell’Istituto Psichiatrico di Collemaggio <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>The research is the first scientific study about the ex psychiatric hospital in Collemaggio (AQ). It is related to some photographic plates regarding patients that were recovered in the asylum. Photography was an important instrument for the psychiatrists: they used it to study mental health through photos of patients’ bodies and faces. The photographic plates are compared to the experiments of Charcot, the innovations of Diamond and the psychiatric analysis of Lombroso.</p> </div> </div> </div> Laura Proserpio Copyright (c) 2019-12-30 2019-12-30 18 «To call fools into a circle»: Benjamin’s interpretation of As you like it and The Tempest <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Calderon and Shakespeare are the two main authors that lie behind Benjamin’s examination of the German baroque drama. This paper addresses the importance of Shakespeare in his difference from the other big European cousin, Calderon. This does not mean that, according to Benjamin, Shakespeare is more important than Calderon (his beautiful essay on Calderon of 1923 contradicts this point), but rather that the English author brings to light an element that in Calderon is in some way missing. This is what Benjamin in some critical texts from the period of the Trauerpielbuch calls the «dramatic».</p> <p>Why does Benjamin say here that the dramatic precedes the tragic? And what does this have to do with the two Shakespearian characters he refers to in a letter of the same year, Caliban and Ariel? Moreover, is the interpretation of The Tempest that this passage implies the same as the one that he suggested in his previous essay on As you like it (1918)?</p> <p>These questions will lead to a few passages of the Trauerspielbuch that were particularly difficult to translate (not only in the two Italian previous translations, but also in the first English version, by John Osborne) and that can shed light on some important aspects of the book itself. In this context, another Shakespearian character will come to the aid, the Jacques of As you like it, with his Greek invocation «to call fools into a circle».</p> </div> </div> </div> Alice Barale Copyright (c) 2019-12-30 2019-12-30 18