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Relevant bibliographies by topics / Giorgio Strehler

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Academic literature on the topic 'Giorgio Strehler'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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Journal articles on the topic "Giorgio Strehler"

1

Trousdell, Richard. "Giorgio Strehler in Rehearsal." Drama Review: TDR 30, no. 4 (1986): 65. http://dx.doi.org/10.2307/1145783.

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COLLI, GIAN GIACOMO. "Shakespeare in a Fountain: The First Italian Production of The Tempest Directed by Giorgio Strehler in 1948." Theatre Research International 29, no. 2 (July 2004): 174–85. http://dx.doi.org/10.1017/s0307883304000318.

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The Italian director Giorgio Strehler (1921–97) staged more plays by Shakespeare than by any other playwright, but only a few of his most recent and successful Shakespearean stagings have received international critical attention. By focusing on one of Strehler's early productions, The Tempest of 1948, this article has a double purpose: to examine the cultural context of a production that was quite anomalous for the Piccolo Teatro of Milan, then in its second season, and to underline how, from the beginning of his career, Strehler developed a crucial attention for a mutable theatre space.

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Čopra, Aida. "Dancing in War. Perception of Theater in Wartime Sarajevo: Pippo Delbono, Giorgio Strehler and Peter Schumann." Društvene i humanističke studije (Online) 6, no. 3(16) (July 27, 2021): 81–94. http://dx.doi.org/10.51558/2490-3647.2021.6.3.81.

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„When I went to Sarajevo, I met a boy“, Pippo Delbono tells us. They talked, and suddenly the boy told him, „I saw an entire city in anger. I’ve seen people become monsters“. And Delbono replied, „And I’ve seen people look at me like I’m a monster. And all the things that turn into monstrosity“. Traveling, for Delbono, is a life experience that turns into a theatrical one at the same time. In 1998, Delbono created a play called War. The story of the boy he meets during his trip to Sarajevo is an introduction to Delbono’s magical world of theater through which he expresses the need to present a life that is born from suffering, illness, war, but in which we still „dancing“. Danzare nella guerra, „dancing in the war“, for Delbono means to oppose the war to the beauty, joy, and poetics of the movement. In 1995, Strehler directed a play called Mother Courage of Sarajevo based on the text written by Bertolt Brecht. For Strehler, Mother Courage of Sarajevo is not just a play, it is a symbol, a political act that portrays war as a human failure. Strehler based his vision of theater on Brecht’s epic theater. One year before, in 1993, with his puppet troupe, The Bread and Puppet, Peter Schumann came to Sarajevo to provide his support. In the first place, we want to show how Delbono’s conception of theater and experience during his trip to Sarajevo intertwine with the primary goal of Sarajevo theater in those years, as „spiritual resistance“, „spiritual needs“, „call to heal wounded souls“, a „super theater“, as Izudin Bajrović calls him, in which theater and life were the same. Through Strehler’s theater, his relationship with Sarajevo, and the breaking of the „fourth wall“, we will talk about theater as research of those eternal human values, but also returning to humane theater. In the third place, through Schumann’s work, we will show how the external theatrical reality intertwines with the internal one as a feature of strong political engagement.

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4

Balme, Christopher. "Giorgio Strehler's Faust Project: Signification and Reception Strategies." New Theatre Quarterly 9, no. 35 (August 1993): 211–24. http://dx.doi.org/10.1017/s0266464x00007934.

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In the ten years between 1982, when Giorgio Strehler announced his intention to stage both parts of Goethe's Faust over six evenings, and the eventual two-evening performance amidst a ‘Faust Festival’ in 1992, the Faust project underwent a series of modifications and manifestations, in parallel with the struggle to create the Teatro Grande in Milan as a new house for the Piccolo. The progress and realization of the project are here charted by Christopher Balme, who not only describes the work processes involved, but how these became enmeshed both in the politics of Strehler's relations with the city of Milan, and with his own identification, as actor of Faust as well as director of the project, with the role of the hubristic artist, in quest of a climax to a controversial career. Christopher Balme is a lecturer in theatre studies at the University of Munich's Instituttür Theaterwissenschaft. He has published on modern German theatre, theatre theory, and post-colonial drama and theatre. He has previously held posts at the University of Würzburg, and was Alexander von Humboldt Research Fellow in Theatre Studies at Munich University. He has also been a Visiting Lecturer at the Department of Theatre and Film at Victoria University in New Zealand.

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Garavaglia, Valentina. "Tra utopia e riformismo, il teatro pubblico di Paolo Grassi e Giorgio Strehler." Forum Italicum: A Journal of Italian Studies 54, no. 1 (March 10, 2020): 439–58. http://dx.doi.org/10.1177/0014585820910088.

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L’incontro tra Paolo Grassi e Giorgio Strehler avvenuto nella Milano del dopoguerra, segna l’inizio di un sodalizio, artistico e umano, che ha concorso a scrivere importanti pagine della storia del teatro non solo italiano, ma soprattutto ha contribuito ad arricchire la storia della cultura di ispirazione socialista nel nostro paese. Il legame tra il Piccolo Teatro di Milano, nei suoi primi 25 anni di vita, e la storia del socialismo riformista si racconta attraverso drammaturgie di impegno politico, scelte di regia e di politica culturale nelle quali si intrecciano le biografie del regista e dell’ideologo, uniti nell’impegno per la realizzazione di un teatro d’arte per tutti a partire dall’eredità della Resistenza. Attraverso l’analisi degli appunti di regia, della corrispondenza privata, della critica e degli allestimenti, l’articolo si propone di ripercorrere gli anni dalla fondazione del Piccolo Teatro, nel 1947, fino al 1972, anno in cui Paolo Grassi passerà alla direzione del Teatro alla Scala. A partire dal primo allestimento di Giorgio Strehler, L’albergo dei poveri di Gor’kij, le scelte drammaturgiche e stilistiche del primo teatro stabile pubblico italiano si rivelano emblematiche della continua tensione ideale tra arte e politica, tra attenzione rivolta all’uomo e riflessione sulla collettività.

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Turchi, Roberta. "Illustrazioni per La Trilogia della villeggiatura." Quaderni d'italianistica 36, no. 1 (January 27, 2016): 173–92. http://dx.doi.org/10.33137/q.i..v36i1.26278.

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Nel Settecento, Venezia continuò a ricoprire un posto di assoluto rilievo anche nella tradizione del libro illustrato. Con le vignette delle edizioni Pasquali e Zatta, Pietro Antonio Novelli fu uno dei primi acuti interpreti del teatro di Carlo Goldoni. Soprattutto con le illustrazioni della Zatta il pittore ci ha tramandato immagini legate all’evento teatrale. Nel contributo si prendono in esame quelle relative alla Trilogia della villeggiatura, cui guardò anche Giorgio Strehler per le regie del capolavoro goldoniano.

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Houle, Gabrielle. "Dramaturgy of the Body: Marcello Moretti's Construction of Arlecchino at the Piccolo Teatro of Milan." New Theatre Quarterly 34, no. 2 (April 19, 2018): 130–44. http://dx.doi.org/10.1017/s0266464x18000040.

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In this article Gabrielle Houle examines the dramaturgical process that actor Marcello Moretti applied to his creation of Arlecchino's body in Giorgio Strehler's globally acclaimed productions of The Servant of Two Masters at the Piccolo Teatro of Milan between 1947 and 1960. She provides a critical analysis of Moretti's interdisciplinary and trans-historical research and creative process, including his study of iconographic representations of the commedia dell’arte, his observation of farmers in Padua in the mid-twentieth century, and the connections he made between his life experiences and his understanding of Arlecchino. She then examines Moretti's acting style, signature postures, and footwork, both as the international press described them and as she observed them in a video recording and in photographs of the productions. The article, based on extensive archival research at the Piccolo Teatro and on interviews with artists who knew both Moretti and Strehler, concludes with a discussion of Moretti's legacy within and beyond Italy. Gabrielle Houle is a theatre scholar, educator, and artist specializing in the recent staging history of the commedia dell’arte, contemporary mask-making practices, and masked performance. She has taught in several Canadian universities, and is a member of the Centre for Oral History and Tradition at the University of Lethbridge, where she is also an Adjunct Assistant Professor.

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Cuomo, Francesco. "Berliner Ensemble 1957 – Piccolo Teatro 1963. Science in the reception of Brecht’s "Galileo" as from the press reviews on both stagings." Journal of Science Communication 05, no. 01 (March 21, 2006): A01. http://dx.doi.org/10.22323/2.05010201.

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The article reports the outcome of an analysis of the reception of Bertolt Brecht’s play, "The Life of Galileo", as presented by Giorgio Strehler (Milan, 1963) and Brecht himself in collaboration with Erich Engel (East Berlin, 1957), carried out on respective press reviews. The reviews were examined by the application of quantitative analysis based on the recurrence of determinate themes associated with images of science. In comparing the results of the analysis of each of the two press reviews, it appears that different images were conveyed by the same play performed in two different contexts for different audiences. Italy, in particular, showed a more frequent recurrence of the conflict between science and religion as a result of the ongoing cultural and spiritual authority of the Church, whereas in the German Democratic Republic’s communist regime, where Brecht is a troublesome but tolerated intellectual, the topics of the scientist’s freedom within the Establishment and intellectual courage were more frequent.

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Fleury, Laurent. "Décisions politiques, charisme d’institution et scènes artistiques : quelles actions réciproques ?" Cahiers de recherche sociologique, no. 57 (February 24, 2016): 159–80. http://dx.doi.org/10.7202/1035280ar.

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La valeur explicative de l’idée de scènes s’avère féconde si l’on considère que l’existence de scènes artistiques et la concurrence qu’elles se livrent à l’échelle internationale a influencé des décisions politiques de premier plan. L’atteste la décision de nommer Jean Vilar au Théâtre National Populaire en 1951, dans un contexte où la scène européenne du théâtre se structure autour de lieux phares comme le Piccolo Teatro que fonde Giorgio Strehler à Milan en 1948 ou le Berliner Ensemble dont Bertolt Brecht prend la direction en 1949. En témoigne également la décision de créer un Centre d’art et de culture sur le plateau Beaubourg par le président Pompidou au moment où Paris perdait son statut de capitale internationale des arts au profit d’une effervescence créatrice outre-Atlantique (New York) et outre-Rhin (Kassel, Darmstadt, Cologne, Düsseldorf), lesquelles se livraient, dans les années 1970, une concurrence sans merci en matière d’art et de culture.

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Cave, Richard Allen. "Giorgio Strehler. by David L. Hirst. (Directors in Perspective Series.) Cambridge: Cambridge University Press, 1993. Pp. xii + 140. £32.50." Theatre Research International 19, no. 2 (1994): 174–75. http://dx.doi.org/10.1017/s0307883300019519.

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Dissertations / Theses on the topic "Giorgio Strehler"

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Douël, Dell'Agnola Catherine. "Les mises en scène goldoniennes de Giorgio Strehler." Paris 10, 1985. http://www.theses.fr/1985PA100281.

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Zipf, Hanna Maria. "Giorgio Strehlers Arlecchino am Piccolo Teatro di Milano /." Marburg : Tectum-Verl, 2010. http://d-nb.info/1000653234/04.

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Tanant, Myriam. ""La prova infinita" : Giorgio Strehler entre pratique et recherche théâtrale." Paris 3, 2005. http://www.theses.fr/2005PA030099.

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Giorgio Strehler, fondateur avec Paolo Grassi du Piccolo Teatro de Milan, fut l'un des grands metteurs en scène de la deuxième moitié du XXe siècle. Quand il mourut en 1997, Patrice Chéreau a dit : " Il était le maître que je m'étais choisi. Il était le théâtre tout entier, celui qui pensait que le théâtre avait une responsabilité dans le monde et dans la société, celui qui m'a tout appris, l'espace théâtral, le travail du sens, comment raconter une histoire à travers la poésie du théâtre, comment allier la légèreté à la gravité ". Cette déclaration met en évidence l'importance du travail de Strehler et sa spécificité. Notre recherche porte sur sa pratique scénique qui s'est forgée conjointement au théâtre et à l'opéra : ce qui lui a permis de tisser une toile entre Goldoni, Mozart, Shakespeare, Verdi, Brecht et Tchékhov. Dans une première partie, nous avons essayé de mettre en évidence son travail de recherche visant à recréer une tradition perdue, à travers Arlequin serviteur de deux maîtres et à rendre à Goldoni sa dimension d'auteur européen. Avec Luchino Visconti, Strehler a été un passeur de la dramaturgie goldonienne. Notre deuxième axe de recherche concerne le travail de Strehler à l'opéra, qui n'a pas, jusqu'à ce jour, à notre connaissance, donné lieu à une étude globale. Nous avons essayé de mettre en évidence comment la pratique du metteur en scène se fonde sur l'approfondissement de la partition pour proposer aux chanteurs un travail scénique étroitement tributaire des valeurs musicales. Son travail à l'opéra a certainement été à l'origine d'une nouvelle manière de monter Mozart et Verdi, comme son travail au théâtre a imposé un Goldoni différent
Giorgio Strehler, who founded Milan's Piccolo Teatro with Paolo Grassi, was one of the greatest stage directors of the second half of the 20th century. Upon his death in 1997, Patrice Chéreau stated : “He was the master I had chosen. For me he was theater, the one who thought theater had a responsibility in the world and in society. He taught me everything I know : theatrical space, the workings of meaning, the telling of a story through the poetics of theatre, the allying of levity and gravity. ” This statement brings forth both the importance of Strehler's work and its specificity. Our research focuses on his work as a stage director within the two areas of theater and opera, a two-sided approach which allowed him to weave a web between Goldoni, Mozart, Shakespeare, Verdi, Brecht and Chekhov. In the first section of the thesis, we emphasize how his research attempted to reclaim a lost tradition (through Arlecchino, Servant of Two Masters) and to restore Goldoni's status as a European author. (Together with Luchino Visconti, Strehler carried on the Goldonian tradition of dramatic art. ). Secondly, this dissertation explores Strehler's operatic oeuvre, which, to our knowledge, has not yet been studied in its entirety. We have highlighed how the stage director's work is based upon a development of the musical score in an effort to provide the singers with a stage work which is inseparable from the music. His operatic oeuvre was undoubtedly behind new approaches to producing Mozart and Verdi, just as his theatrical work ushered in a new vision of Goldoni

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Peslin, Daniela. "Le Théâtre des Nations : (1957-1968) : Premier Festival International de Théâtre après la deuxième guerre mondiale." Paris 3, 2008. https://faraway.parisnanterre.fr/login?url=https://www.vlebooks.com/vleweb/product/openreader?id=UPN&accId=9224405&isbn=9782296214781&uid=^u.

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Le Théâtre des Nations fut le lieu unique de confrontation des créations théâtrales, lyriques et chorégraphiques internationales de 1957 à 1968. Ce plus grand festival de théâtre du monde concentra les forces capables de perpétuer les valeurs du théâtre et de bouleverser les structures traditionnelles du répertoire. Après le traumatisme de la seconde guerre mondiale, il contribua à l’émergence en France et en Europe d’une volonté d’ouverture sur le monde. Il accueillit de grands auteurs qui, par la confrontation de leurs projets sur la scène parisienne, confirmèrent l’existence d’une communauté internationale du Théâtre. Alors inconnus, la plupart sont aujourd’hui les grands maîtres du XXe et du XXIe siècle. En accueillant de même certains créateurs révolutionnaires, il fera souffler un vent de jeunesse et de liberté préfigurant les événements de Mai 68. L’analyse des événements précurseurs permet de comprendre les conditions de son institutionnalisation et la définition de ses trois missions qui ont permis d’explorer en onze ans un champ illimité de culture au bénéfice des professionnels, des artistes et des spectateurs: la découverte des traditions théâtrales majeures venues de quatre continents, la recherche de nouvelles formes scéniques, et la consécration des troupes les plus prestigieuses. L’étude du Théâtre des Nations exige aussi d’adopter une approche sociologique et historique car il fut impliqué dans les grandes questions de l’époque, entre autres la reprise des relations politiques et diplomatiques d’après guerre, et la reconnaissance des droits d’artistes originaires de régimes totalitaires ou d’anciennes colonies. Le plus international de tous les festivals internationaux, le Théâtre des Nations reste ce qu'il a toujours été, un défi au monde
The Theatre of Nations - Théâtre des Nations - was the unique place of confrontation of international theatrical, lyric and choreographic creations from 1957 till 1968. The biggest festival of theatre in the world concentrated forces able to perpetuate the values of theatre and to change the structures of theatre directory in depth. After the traumatism of World War II, this Festival contributed to launch in Europe a will of opening to the world. By welcoming authors challenging their visions on the Parisian stages, it confirmed the actuality of an international community of theatre. Barely known at the time, most of these authors are today the grand masters of the XXth and XXIst century. By receiving also revolutionary creators, the festival blew a wind of youth and freedom forecasting May 68 events. The analysis of previous similar attempts helps to understand the context of its emergence and the definition of its three missions which allowed exploring in eleven years an endless field of culture for the benefit of the professionals, the artists and the audience: the discovery of the major traditions coming from four continents, the research of new forms of scenic arts, and the consecration of the most prestigious theatre companies. A sociological and historical approach helps also to analyze this phenomenon which was involved in the biggest questions of its time, among them the after war resumption of political and diplomatic relationships, and the recognition of the rights of artists born in totalitarian countries or ancient colonies. The most international of all international festivals remains what it always was, a challenge to the world

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5

Colli, Gian Giacomo. "The Impossible Tempest: Giorgio Strehler or the Director as Interpreter." Thesis, 2006. http://hdl.handle.net/1807/29947.

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During his fifty-year career, the Italian director Giorgio Strehler (1921-1997) staged more plays by Shakespeare than by any other playwright, but only a few of his most recent and successful Shakespearean productions have received international critical attention, and The Tempest he directed in 1978 is among them. Thirty years before however, in 1948, he directed a first, completely different production of the same text. Starting from the theoretical assumption that a theatre performance, as object, exists only in the moment in which it is actually produced, that is, in its reception by the audience, this dissertation has a twofold purpose: to explore the different contexts in which the two productions directed by Strehler were staged, and to underline how, from the beginning of his career he developed a crucial attention for interpretative techniques culminating in the 1978 Tempest. Aside from being based on the same text and from being produced by the same ensemble, the Piccolo Teatro of Milan, though with two radically different acting and technical troupes, the two productions of The Tempest directed by Strehler enlighten the variety of dynamics – from historical, political, and cultural, to more specifically theatrical, technical, and dramaturgical – which interacted within him while he was working at the staging of the play, and emphasizes the centrality of the director in contemporary theatre. Finally, this dissertation examines how the pragmatic process of rehearsal might modify the director's theoretical approach to a text, and shows how the study of a performance consists not just in the quest for its meaning, but in the investigation of how the text is brought to the stage, to that coalescent point that, in order to materialize, demands active participation and involvement from both interpreters and spectators.

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Books on the topic "Giorgio Strehler"

1

Giorgio Strehler. New York: Cambridge University Press, 1993.

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Invito al teatro di Giorgio Strehler. Milano: Mursia, 2002.

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Dvořák, Cordelia. Passione teatrale: Giorgio Strehler und das Theater. Berlin: Henschel, 1994.

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Griga, Stefano Bajma. La Tempesta di Shakespeare per Giorgio Strehler. Pisa: ETS, 2003.

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Dell'Agnola, Catherine Douël. Gli spettacoli goldoniani di Giorgio Strehler: 1947-1991. Roma: Bulzoni, 1992.

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Francesca, Pini, ed. Il tempo di una vita: Conversazione con Giorgio Strehler. Genova: De Ferrari, 2005.

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1947-, Testoni Elio, ed. Giorgio Strehler: Atti del Convegno di studi su Giorgio Strehler e il teatro pubblico : 21 gennaio 2008, Roma, Sala Capitolare, Chiostro del Convento di Santa Maria sopra Minerva. Soveria Mannelli (Catanzaro): Rubbettino, 2009.

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Horowitz, Arthur. Prospero's "true preservers": Peter Brook, Yukio Ninagawa, and Giorgio Strehler--twentieth-century directors approach Shakespeare's The tempest. Newark: University of Delaware Press, 2004.

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Mainusch, Herbert. Regie und Interpretation: Gespräche mit Achim Benning, Peter Brook, Dieter Dorn, Adolf Dresen, Boy Gobert, Hans Hollmann, Takis Mouzenidis, Hans-Reinhard Müller, Claus Peymann, Peter Stein, Giorgio Strehler und Georgij Towstonogov. München: W. Fink, 1985.

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1935-, Benning Achim, ed. Regie und Interpretation: Gespräche mit Achim Benning, Peter Brook, Dieter Dorn, Adolf Dresen, Boy Gobert, Hans Hollmann, Takis Mouzenidis, Hans-Reinhard Müller, Claus Peymann, Peter Stein, Giorgio Strehler und Georgij Towstonogov. 2nd ed. München: W. Fink, 1989.

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Book chapters on the topic "Giorgio Strehler"

1

Berry, Ralph. "Giorgio Strehler." In On Directing Shakespeare, 105–12. Routledge, 2014. http://dx.doi.org/10.4324/9781315761879-8.

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Perlman, Mace. "Giorgio Strehler’s Il gioco dei potenti." In Shakespeare, Italy, and Transnational Exchange, 246–64. Routledge, 2017. http://dx.doi.org/10.4324/9781315618401-18.

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"Between Mediatization and Live Performance: The Music for Giorgio Strehler’s The Tempest (1978)." In Musical Listening in the Age of Technological Reproduction, 155–72. Routledge, 2016. http://dx.doi.org/10.4324/9781315596969-14.

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