RISVEGLIARE LA SOVVERSIONE: UN’ESPLORAZIONE BALLETTICA DEI PAESAGGI LINGUISTICI NE LA BELLA ADDORMENTATA NEL BOSCO
DOI:
https://doi.org/10.54103/2037-3597/30500Abstract
L’articolo analizza La Bella Addormentata nel bosco di Reginaldo Oliveira (Salzburger Landestheater, 2023) come dispositivo critico capace di sovvertire i codici narrativi e simbolici della fiaba canonica. Attraverso il concetto di paesaggio linguistico performativo, derivato dagli studi sul linguistic landscape e riletto in chiave multimodale, lo studio esamina come coreografia, scenografia, costumi, luce e comunicazione non verbale agiscano come sistemi semiotici capaci di produrre significato oltre la parola. Con un approccio qualitativo e multimodale, la performance viene letta come un atto di riscrittura simbolica in grado di decostruire la passività di Aurora e ridefinirla come soggetto attivo, politico e relazionale. Ogni codice performativo contribuisce a questo processo: il movimento frammentato, le distopie scenografiche, i costumi ibridi, l’empatia cinestetica e la drammaturgia cromatica. L’articolo sostiene che la produzione non si limiti a rivisitare una fiaba, ma la trasformi in un atto politico ed epistemico, in cui la danza diventa linguaggio critico capace di ridefinire l’immaginario collettivo.
Awakening subversion: a balletic exploration of linguistic landscapes in Sleeping Beauty
This article examines Reginaldo Oliveira’s Sleeping Beauty as a critical device that subverts the canonical codes of the fairy tale tradition. Drawing on the concept of the linguistic landscape, reinterpreted in performative and multimodal terms, the study analyses how choreography, scenography, costumes, lighting, and non-verbal communication function as semiotic systems producing meaning beyond words. Through a qualitative and multimodal approach, the performance is read as a symbolic rewriting that dismantles the passive representation of Aurora and redefines her as an active subject endowed with political and relational agency. Each performative code contributes to this process: fragmented movement, scenographic dystopias, hybrid costumes, kinesthetic empathy, and chromatic dramaturgy. The article argues that the production does not merely retell a fairy tale but transforms it into a political and epistemic act, in which dance becomes a critical language capable of reshaping the collective imagination.
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