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> it-IT Gli autori che pubblicano su questa rivista accettano le seguenti condizioni: 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. 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. 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). (Maddalena Mazzocut-Mis) (Daniele Frezzato) Thu, 01 Aug 2019 00:00:00 +0000 OJS 60 Introduzione - Adeline Thulard, Vanja Vasiljević Copyright (c) 2019 Itinera Thu, 01 Aug 2019 00:00:00 +0000 Tentatives de biographies scéniques : entre mythe, histoire et fiction <p><span>This paper aims to report the conclusions of a <em>practice-as-research</em> laboratory carried out with students of Université Lumière Lyon 2, which took place within the project “Borders’ trespassing: from France to Italy, from research to creation, from an art to another”. Students were invited to write a dramaturgy inspired from Casanova’s life. They explored several questions about playwriting (action, character, dialog…) and found original solutions to write a biographic play. The results question the representation of identity and personality in our mediatic world, experimenting intermediality in their text.</span></p><p><span>Keymords: théâtre, Giacomo Casanova, laboratoire, recherche-création, intermédialité.</span></p> Adeline Thulard Copyright (c) 2019 Itinera Thu, 01 Aug 2019 15:39:46 +0000 Comment la scène italienne s’est appropriée L’Homme semence : stratégies d’adaptation d’un prétendu manuscrit <p><span>Sonia Bergamasco’s adaptation of <em>L’Homme semence</em> by Violette Ailhaud makes use of a single actor reciting, even if, in a staging that emphasizes plurimediality, it is not possible to define <em>L'uomo seme</em> as a real monologue.</span></p><p><span>The analysis will take into account first the structure of the story, the strains that the plot imposes on the <em>fabula</em> and the effects it has on its global meaning; the linguistic marks that oppose the choral speech to the individual discourse, and the mentions referring to a culture anchored in a territory in a precise moment of history, which are superimposed on a speech that touches on the universal.</span></p><p> </p><p><span>Adaptation, réécriture, Ailhaud, Homme semence, théâtre</span></p> Laura Brignoli Copyright (c) 2019 Itinera Thu, 01 Aug 2019 15:39:46 +0000 Tra Lettura e Teatro: Il caso di Libri da Ardere di Amélie Nothomb <p><span><em>Les combustibles</em> (translated into Italian as <em>Libri da ardere</em>) is the third Amélie Nothomb work and her unique theatrical text.</span></p><p><span>However, it can’t be considered as a canonical play, for its strong relationship with the page and the reader. The paper focuses on two theatrical versions produced by Teatro dell’Elfo in Milan in 2006 and 2018, adapted and directed by Cristina Crippa. The show maintains the link with the book through the declamation of stage directions by the three characters, in an experiment between reading and theatre.</span></p><p> </p><p><span>Combustibles, Nothomb, Cristina Crippa, Teatro dell’Elfo.</span></p> Mariagabriella Cambiaghi Copyright (c) 2019 Itinera Thu, 01 Aug 2019 15:39:46 +0000 L’Avversario. Il romanzo di Carrère nella lettura scenica di Invisibile Kollettivo <p><span>The paper aims to illustrate the Italian play <em>L’Avversario</em>, a work by Invisibile Kollettivo that tries to translate into a theatrical show the roman written by the French author Emmanuel Carrère.</span></p><p><span>Both in the roman and in the play the most important aspect is the author’s point of view together with his feelings. This results quite normal referring to a book, but it is way too original in a theatrical play. So, the paper tries to explain the motivation that moved the Italian artists to stay loyal to the spirit of the book, choosing the form of the scenic reading for bringing it on stage.</span></p><p> </p><p><span>Theatre, Carrère, Lettura scenica, Teatro dell’Elfo, Invisibile Kollettivo</span></p> Veronica Scarioni Copyright (c) 2019 Itinera Thu, 01 Aug 2019 15:39:46 +0000 Dal testo alla scena: montaggio, citazione e traduzione. Il caso Quartett di Heiner Müller e la messa in scena di Valter Malosti <p><span>The dramaturgical principle of <em>montage</em> has a crucial importance in the mechanism of transposition from the novel to the staging and also includes the operations of quotation and translation. Heiner Müller’s transposition of the <em>Liaisons dangereuses </em>by Choderlos de Laclos into the pièce <em>Quartett</em> is an exemplary case for studying these dynamics, as well as the staging by Valter Malosti.</span></p><p> </p><p><span>Montage, Malosti, Heiner Müller, translation.</span></p> Daniela Sacco Copyright (c) 2019 Itinera Thu, 01 Aug 2019 15:39:46 +0000 Théâtre/Roman : Titus n’aimait pas Bérénice, de Nathalie Azoulai (prix Médicis 2015) <p><span>A novelistic rewriting of Racine’s tragedy, which projects the character Berenice into our time while killing Titus, this novel by Nathalie Azoulai lends itself to a narratological analysis that describes the different modalities of the intermedial transposition here at work. Beyond this formalist approach, however, it is worth considering the meaning of this transmodalisation: a tribute from the novel to the theatre, this story is above all a romanticized biography of Racine and thus plays on genres. But the interlocking of the two levels of fiction and the hypertrophy of metapoetic discourse are here lures that mask the reverence of postmodernity to classicism, opposing the majesty of style to the sloppy of contemporary autofiction.</span></p><p> </p><p><span>Racine, Nathalie Azoulai, intermedial transposition, transmodalisation</span></p> Yves Baudelle Copyright (c) 2019 Itinera Thu, 01 Aug 2019 15:39:47 +0000 Rappresentare: Némirovsky tra narrativa e teatro <p><span>The paper aims to explore the theatrical success of Irène Némirovsky’s work, analysing in particular two Italian productions: <em>Il Ballo</em>, conceived and performed by Sonia Bergamasco, and the play <em>Jezabel</em>, adapted from the namesake novel by Maddalena Mazzocut-Mis and Sofia Pelczer, and directed by the latter. The analysis of these performances allows also to highlight the inherent theatrical dimension of Némirovsky’s work, both on a thematic and formal level.</span></p><p><span>Némirovsky, representation, theatre, intermediality</span></p> Elena Quaglia Copyright (c) 2019 Itinera Thu, 01 Aug 2019 15:39:47 +0000 Irène Némirovsky e la tentazione del grande schermo <p><span>Having reached the apex of her fame in the 30s, Irène Némirovsky regained her popularity in 2004, when her posthumous novel <em>French Suite</em> was published, prompting the re-publication of all her works. Known as author of novels, Némirovsky would have liked to write exclusively for the cinema.</span></p><p><span>She authored four plays which never became films. With Hollywood in her mind, three unsuccessful attempts and movies based on her works, Némirovsky wrote great literature thinking about the big screen.</span></p><p> </p><p><span>Key words: Némirovsky, literature, cinema, plays.</span></p> Cinzia Bigliosi Copyright (c) 2019 Itinera Thu, 01 Aug 2019 15:39:47 +0000