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Journal articles on the topic 'Giorgio Strehler'

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Published: 4 June 2021

Last updated: 27 April 2022

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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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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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Szlyk, Marianne. "Prospero's "True Preservers": Peter Brook, Yukio Ninagawa, and Giorgio Strehler--Twentieth-Century Directors Approach Shakespeare's The Tempest (review)." Shakespeare Bulletin 24, no. 3 (2006): 134–37. http://dx.doi.org/10.1353/shb.2006.0059.

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Decubber, Jonathan. "L’Illusion comique en France par Giorgio Strehler (1984) et Galin Stoev (2008). Proposition pour un outil d’appréhension des phénomènes de réception." Les Lettres Romanes 68, no. 3-4 (July 2014): 525–37. http://dx.doi.org/10.1484/j.llr.5.103660.

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Shornikova, Alexandra V. "About the Influence of the Performative Features of the Avant-garde Theater on Documentary Opera." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2022): 186–94. http://dx.doi.org/10.33779/2782-3598.2022.1.186-194.

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Documentary qualities in the art of music are among of the bright, interesting and little researched phenomena of modernity. Having been generated in the sphere of cinema and drama theater, the present tendency also became circulated in the sphere of musical theater. The introduction of documentary innovative materials – verbal and audio – into the artistic context of works written in the opera genre substantially transformed the traditional structure of musical performance. The article ascertains that the source of such types of experimental attempts was the elaboration of the avant-garde dramatic theater, whose producers made broad use of the techniques of performative art. This became the artistic orientation for documentary musical theater. Analysis of the stage endeavors of theatrical producers Erwin Piscator, Giorgio Strehler, Andrei Serban and Peter Sellars has made it possible to bring to light the vectors of impact of avant-garde theater on the musical documentary theater, which broadly applied the principles of performativity. Accentuation is made of the role of contemporary computer technologies, which gave the opportunities to producers and composers to obtain an instrumentarium that is broad in its artistic resources and inclination towards synthesis, to realize the performative forms of presentation of musical theater. The new features include minimalistic scenography, political allusions, the extension of time and space, and special forms of interaction with the audience. Their appropriation by musical documentary theater proves the force of impact of avant-garde artistic practices, which have greatly transformed opera traditions.

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HAMON-SIRÉJOLS, CHRISTINE. "The Revival of Plays: A Procedure Open to Question." Theatre Research International 33, no. 3 (October 2008): 307–17. http://dx.doi.org/10.1017/s0307883308003994.

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In French, the term reprise (revival) is polysemous to a high degree. Starting with a short redefinition of the term, our present concern is to make clear its historical evolution and to analyse the contexts in which theatre directors are using it today. Whether the motives for a revival be economic, emotional or aesthetical, the phenomenon becomes more and more important in the perspective of a globalization of the major theatrical productions. From Giorgio Strehler's seven revivals of Goldoni's Servant of Two Masters to the several versions in different languages of one performance by Robert Wilson or Robert Lepage, what is at stake in a revival has changed considerably: this is what this article will attempt to clarify.

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Yushkova, E. V. "Review of Partan, O. (2017). Vagabonding masks. The Italian commedia dell’arte in the Russian artistic imagination. Boston: Academic Studies Press. 294 pages." Voprosy literatury, no. 6 (February 7, 2019): 396–401. http://dx.doi.org/10.31425/0042-8795-2018-6-396-401.

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In her book, Olga Partan touches upon theatrical and literary history from the early 1600s, her detailed analysis of certain renowned works of literature and dramatizations revealing their new aspects. The interdisciplinary method of her work enables Partan to create a study which comfortably accommodates Trediakovsky with Gogol, and Dostoevsky; Sumarokov with Block, and Bely; and even Alla Pugachova with Vladimir Nabokov, side by side on its pages. The author of Vagabonding Masks examines their 300-year old adventures in Russian culture, from the times of Peter I. She believes that the Italian genre became part and parcel of Russian culture from the moment when the first Italian theatrical companies were invited to perform at the court of Empress Anna Ioannovna. The book follows a chronological order: starting from the first Russian theatres and all the way to Giorgio Strehler’s tour of the country in the early 2000s: a powerful boost to Modernist theatrical art inRussia, as opposed to the deeply rooted Stanislavsky traditions.

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Camilotti, Camila Paula. "OS PASSOS CRIATIVOS E ARTÍSTICOS DO DIRETOR GIORGIO STREHLER NA CONSTITUIÇÃO DE SUAS ENCENAÇÕES." Cena, no. 17 (October 2, 2015). http://dx.doi.org/10.22456/2236-3254.51177.

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Na constituição de montagens teatrais a criatividade do diretor de teatro Giorgio Strehler se expressava sobremaneira. Cada passo criativo e intelectual do diretor no percurso preparatório de suas encenações era permeado por reflexões, estudos e, sobretudo, inspiração. A preparação de seus espetáculos era sinônimo de pesquisa profunda: em primeiro lugar, acerca do texto dramático e suas implicações e, em segundo, acerca da própria encenação e de seus elementos constitutivos.Com base nesses pressupostos, o objetivo deste trabalho reside em observar os passos criativos e artísticos do diretor italiano Giorgio Strehler na constituição de suas montagens teatrais, desde a preparação dos elementos cênicos, até a preparação dos atores na constituição de seus papeis. A conclusão que se obteve com esse estudo foi que a exigência e o envolvimento de Strehler na preparação das montagens teatrais o conduzia, quase sempre, a resultados satisfatórios e, como conseqüência, suas encenações se enquadram em uma esfera artística de alta qualidade estética e cultural.

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Astier, Aude. "Métamorphoser la reprise : variations et continuité de l’Arlequin, serviteur de deux maîtres de Giorgio Strehler." Agôn. Revue des arts de la scène, no. 6 (February 22, 2013). http://dx.doi.org/10.4000/agon.2736.

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