Commedia dell'Arte Scenarios (2022)

Conference paper, 2019

Vacis-will share their ideas about the topics of enquiry via presentations, performances, masterclasses, round tables and audiovisual materials. The Conference structure includes two main areas of investigation-which, in turn, include theories of textual composition and practices of textual composition; theories of performance creation, or "writing for the stage", and practices of "writing for the stage". The concepts of "text" and "stage-writing" can both have different meanings, thus requiring further specifications. By "textual composition" we understand not only play-texts, but also multiple literary as well as other verbal types of languages. Examples include texts derived from improvisation; performance-"scripts"; materials used in documentary theatre; the Dramaturg's contributions, which enable the text to shift between author, director, actors and audience. By "stage-writing" we understand that stage processes can become a writing system of their own, involving all theatrical elements. The notion applies to theatre direction as well as to avant-garde and contemporary performance art, where non-linguistic features can be afforded semiotic value, adding to the theatrical language.

Voice and Speech Review, 2018

Popular Traditions, Carnival, Dance, 2018

This Paper focuses on critical studies of Commedia dell'Arte between XIXth and XXth Centuries, showing how they have been able to discover traditions interesting Classical Comedies (by Plautus and Terence) and Medieval and Renaissance sets. By the way, these studies have also proofed themselves unfit to know why, and by wich way, those traditions have surivived from Ancient Classicity until XVIth and XVIIth Centuries, when Commedia dell'Arte flourished. So, the Paper aims to investigate some critical branch wich can be useful to understand folklorical roots at the back of Transmission, from Middle Ages to Modern Era, of Characters and Masks. One more sections concerns documents about these puzzling question on Music and Dance on Stage, during Commedia dell'Arte's performances.

Early Theatre, 2008

Studia Dramatica, 2018

The paper presents the history of Romanian theatre, beginning with the creation of the first Romanian itinerant theatre company, at the middle of the 18 th century, to the present. It is intended as a foreword and a chronological framework to this special issue of Studia Dramatica. The year 2018 is the centenary of the union of Transylvania, Banat, as well as of Bessarabia and North Bukovina with the Kingdom of Romania. The " Great Union " at the end of the First World War, as known in Romanian historiography, crowned the Romanians' movements of national and cultural emancipation from the ward of the Habsburg Monarchy (followed by the Austro-Hungarian Empire), of the Ottoman and Russian Empires, movements initiated in the second half of the 18 th century and intensified in the 19 th. Given the celebration of the centenary of the Great Union, we intend to dedicate an issue of the journal Studia Dramatica to Romanian theatre, which we seek to revisit not only festively, but also critically. The history of Romanian theatre is slightly longer than one century: the first Romanian itinerant theatre company was created by several Transylvanian students, from Blaj, at the middle of the 18 th century, the century of the first attempts to create dramatic texts in Romanian. The first theatre shows in Romanian, in Moldavia and Wallachia, were performed in

2008

Abstract The launch of a new journal on the commedia dell'arte, the first exclusively dedicated to this subject, marks an auspicious time to assess current scholarship in this exceptionally productive interdisciplinary field, and to introduce the new, exciting research findings here presented to the readers of Early Theatre.

TDR/The Drama Review, 2011

Matters: Theatres in the Second Part of the 20th Century) by Valentina Valentini, represents a breakthrough in theatre studies and performance theory outside of the Anglo-Saxon world. Its publication in Italy can be compared to the innovative works of Patrice Pavis (Languages of the Stage, 1982), Marco de Marinis (Capire il teatro [To Understand Theatre], 1988), and Hans-Thies Lehmann (The Postdramatic Theatre, 1999), which each introduced a major change in European theatre studies. A renowned Italian theatre scholar and professor at La Sapienza University in Rome, Valentini modestly claims that her book is meant as a textbook for teachers and students of theatre and performance practice and theory. However, it is also accessible to nonspecialists, who might be unfamiliar with the "archaeology" of contemporary performing arts and their main aspects: its 200 pages are very well equipped with numerous footnotes, titles, and sources, and richly illustrated with photographs from various historical and contemporary performances. Some of these represent memorable moments in the history of theatre and performance, while others serve to illustrate the main hypothesis: the complex relations between different performance and artistic practices can only be examined and analyzed from a contemporary philosophical perspective which, in turn, can contribute to the development of the field of theatre studies. References

Acts. International Congress Art & Humanities Scientific Conference in Florence, The magic of the Renaissance, 2020

Πρακτικά συνεδρίου: International Congress Art & Humanities Scientific Conference in Florence, The magic of the Renaissance, 26-27 Οκτωβρίου 2020, Φλωρεντία, Νοέμβριος 2020, σσ. 81-90. Our study forms part of a wider project seeking to cover a void within interdisciplinary research in drama studies: its focus is specifically the study of the history of visual arts and the Italian theatre of the Renaissance in juxtaposition with the ancient Greek theatre. Our study proceeds on the basis of an attentive engagement with comparative evidence as regards the methodology of acting and the use of theatrical masks up to the beginnings of the 18th century. It intends to cover a certain gap within the scientific study, in Greece, of the research area of the history of Italian art as well as the history of Italian theatre, while simultaneously focusing on the connection between, on the one hand, the theatrical genre of commedia dell'arte and, on the other hand, ancient Greek and Roman art. This interdisciplinary research project aspires at bringing to light evidence concerning the ancient Greek, Roman and modern Italian cultures. We intend to present as fully as possible the historical and cultural map of each period as regards both acting and the use of theatrical masks. The novelty of this research project lies in the fact that it aims at projecting a new scientific subfield, within the area of visual arts and theatre, as well as the art of acting, which is mostly untouched by both drama studies and historiography.

Early Theatre

This essay reviews seven recent volumes on the commedia dell'arte: Christopher B. Balme, Piermario Vescovo, and Daniele Vianello's edited volume Commedia dell’Arte in Context (2018); Judith Chaffee and Oliver Crick's edited The Routledge Companion to Commedia dell’Arte (2014); Erith Jaffe-Berg's Commedia dell’ Arte and the Mediterranean: Charting Journeys and Mapping ‘Others’ (2016); Andrea Fabiano's La Comédie-Italienne de Paris et Carlo Goldoni: De la commedia dell’arte à l’opéra-comique, une dramaturgie de l'hybridation au XVIIIe siècle (2018); Emily Wilbourne's Seventeenth-Century Opera and the Sound of the Commedia dell’Arte (2016); Natalie Crohn Schmitt's Befriending the Commedia dell’arte of Flaminio Scala: The Comic Scenarios (2014); and Markus Kupferblum's Die geburt der neugier aus dem geist der revolution. Die commedia dell’arte als politisches volkstheater (2013).