Poetry on Stage The Theatre of the Italian Neo Avant Garde Toronto Italian Studies 1st Edition by Gianluca Rizzo ISBN 1487534612 9781487506667

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ISBN 10: 1487534612
ISBN 13: 9781487506667
Author: Gianluca Rizzo

Poetry on Stage focuses on exchanges between the writers of the Italian neo-avant-garde with the actors, directors, and playwrights of the Nuovo Teatro. The book sheds light on a forgotten chapter of twentieth-century Italian literature, arguing that the theatre was the ideal incubator for stylistic and linguistic experiments and a means through which authors could establish direct contact with their audience and verify solutions to the practical and theoretical problems raised by their stances in politics and poetics. A robust analysis of a number of exemplary texts grounds these issues in the plays and poems produced at the time and connects them with the experimentations subsequently carried out by some of the same artists.

In-depth interviews with four of the most influential figures in the field – critic Valentina Valentini, actor and director Pippo Di Marca, author Giuliano Scabia, and the late poet Nanni Balestrini – conclude the volume, providing invaluable first-hand testimony that brings to life the people and controversies discussed.

Poetry on Stage The Theatre of the Italian Neo Avant Garde Toronto Italian Studies 1st Edition Table of contents:

1 Why the Theatre? The Role of the Stage in the Theoretical Debate Surrounding the Poetry and Poetic

1.1 A Bitter aperitivo

1.2 A Knot of Theoretical and Practical Issues

1.3 Contemporary Press Coverage

1.4 Poetry and the Stage

1.5 The Example of Pagliarani

1.6 Sanguineti and the Theatre of the Neoavanguardia

1.7 A “Manifesto minimo” for a Teatro dei Novissimi

1.8 Il Verri’s inchiesta “Sul teatro”

2 The Italian Stage in the 1960s

2.1 Carmelo Bene

2.2 Mario Ricci

2.3 Carlo Quartucci

2.4 Giuliano Scabia

2.5 After 1965

2.6 The Evolution of Quartucci’s and Scabia’s Theatre

2.7 Brecht and “Brechtismo”

2.8 Artaud and the Living Theatre

2.9 The Convegno di Ivrea

2.10 Pasolini and the “Teatro di Parola”

3 A Few Theoretical Notes on Breath and Text: Antonio Porta and Giuliano Scabia

3.1 An Ambivalent Relation

3.2 Reasons for Convergence and Divergence

3.3 The Words of “corpo-voce”:Oral versus Written

3.4 The Changing Status of the Text

3.5 Giuliano Scabia: An Extreme, Exemplary Path

3.6 Antonio Porta’s Hungry Verse

3.7 The “Battle of Castelporziano”

4 An Introduction to Pagliarani’s Theatre

4.1 Theatre as “Verification”

4.2 Languages and Characters

4.3 The Function of the Chorus

4.4 Exempla Devoid of Moral

5 Collaborations and Convergences: Pagliarani, Giuliani, Celli, and Sanguineti

5.1 Giuliani and “Il teatro dei Novissimi”

5.2 Pelle d’Asino, according to Perrault

5.3 Grottesco per musica

5.4 The Play’s General Plan

5.5 Act Two Manuscripts

5.6 The Comparison with Giuliani’s Povera Juliet (“Poor Juliet”)

5.7 The Rewriting of Jarry’s Ubu Roi

5.8 Ubu’s Intertextuality

5.9 Ubu’s Language: Interpretations and Puppets

5.10 Jarry’s Reception in Italy

5.11 Seneca, Nero, and the Land Surveyor K.

5.12 The Rewriting of Faust by Pagliarani and Celli

5.13 Conclusions

Interviews

Interview with Valentina Valentini

Interview with Pippo Di Marca

Interview with Nanni Balestrini

Interview with Giuliano Scabia

Notes

Works Cited

Index

 

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Tags: Gianluca Rizzo, Poetry, Theatre, Italian, Neo Avant, Garde Toronto