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Journal articles on the topic 'Piccolo teatro in Milano'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

Ganvir, Anil Jaydeo. "Althusser’s Criticism of ‘Piccolo Teatro’." Journal of Humanities and Education Development 2, no. 5 (2020): 376–84. http://dx.doi.org/10.22161/jhed.2.5.9.

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8

Chittň, Monica. "Trasformazioni in corso: č la cultura che governa il cambiamento." COSTRUZIONI PSICOANALITICHE, no. 22 (December 2011): 33–43. http://dx.doi.org/10.3280/cost2011-022004.

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L"autrice pone in rilievo come il passaggio di Sesto San Giovanni da piccolo borgo alle porte di Milano a cittŕ industriale segni, durante tutta la prima metŕ del secolo scorso, anche importanti trasformazioni culturali che hanno progressivamente improntato il profilo non solo urbanistico della cittŕ. La memoria di queste trasformazioni si pone oggi come importante elemento di salvaguardia dell"identitŕ di fronte al problema di riconvertire gli enormi spazi urbani che si sono liberati con le dismissioni industriali decenni passati.

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9

Arau, Higini. "Renovating Teatro alla Scala Milano for the 21st century, Part I." Journal of the Acoustical Society of America 117, no. 4 (April 2005): 2522. http://dx.doi.org/10.1121/1.4788370.

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10

Arau, Higini. "Renovating Teatro alla Scala Milano for the 21st century, Part II." Journal of the Acoustical Society of America 117, no. 4 (April 2005): 2522. http://dx.doi.org/10.1121/1.4788371.

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11

Pierotti, Mariarita. ""Teatro alla Scala" di Milano. Il sistema di misurazione delle performance." MANAGEMENT CONTROL, no. 1 (May 2012): 117–39. http://dx.doi.org/10.3280/maco2012-001007.

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The Teatro alla Scala in Milan is playing a position of primary artistic interest in the field of national and international Opera and Drama. This paper aims to analyze the control system adopted by this Institution in order to develop some remarks about the relevance of management control system in Italian cultural organizations. In the past, in these realities the incisive public presence has often hindered the development of such managerial processes. The research has been carried out through a deductive quality methodology. This means that, empirical research has been realized later than the study of the literature on the topic. The case study has been carried out by submitting an interview to the responsible of Management Control. The empirical investigation has led us to develop some observations about management control organizational functions in the Opera houses. The paper identifies the key factors influencing the role of performance measurement system.

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12

Cavaglieri, Livia. "Uno spettacolo esemplare: Splendore e morte di Joaquín Murieta di Chéreau/Neruda al Piccolo Teatro (1970)." Mimesis Journal, no. 6, 2 (December 30, 2017): 19–38. http://dx.doi.org/10.4000/mimesis.1218.

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13

Ardizzone, V. Cortesi. "Gli anzianiL’Università di Milano e gli igienisti nelle RSA (Residenze Sanitarie Assistite). Un piccolo, grande servizio da imitare." Prevenzione & Assistenza Dentale 38, no. 4 (December 2012): 85–86. http://dx.doi.org/10.1016/j.pad.2012.09.002.

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14

Pastori, Bianca. "Resistenza, rappresaglia e memoria di paese Robecco sul Naviglio, 20 e 21 luglio 1944." ITALIA CONTEMPORANEA, no. 264 (March 2012): 385–405. http://dx.doi.org/10.3280/ic2011-264003.

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Il 20 e 21 luglio 1944, in seguito all'uccisione di un soldato tedesco da parte di un gruppo di giovani partigiani, il piccolo paese di Robecco sul Naviglio (Milano) e le campagne circostanti subiscono una dura rappresaglia. Nel saggio l'autrice ripercorre le vicende di quelle giornate e la strutturazione della memoria dei fatti nel corso dei decenni successivi. Apparentemente il paese reagisce seguendo uno schema rintracciabile in analoghi casi di rappresaglia contro la popolazione civile nel corso della seconda guerra mondiale in Italia, dando vita a una memoria non perfettamente in linea con quella nazionale e istituzionale, specialmente per quanto riguarda la valutazione del ruolo dei partigiani. Eppure, anche attraverso l'intervento delle istituzioni locali (le amministrazioni comunali e la Chiesa), la comunitŕ giunge, nel dopoguerra, a una narrazione condivisa; essa č parziale, reticente e semplificata, ma, contribuendo a confermare il senso di coesione interno al paese, riesce a impedire il verificarsi di lacerazioni simili a quelle riscontrate altrove.

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15

Quesada López, Fernando. "Templo. Máquina. Caravana. El teatro y la ciudad en la Italia del siglo XX." Cuaderno de Notas, no. 19 (July 31, 2018): 43. http://dx.doi.org/10.20868/cn.2018.3816.

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Resumen Entre 1965 y 1975 se produjo en Italia un debate muy intenso en torno a la arquitectura teatral, el edificio del teatro y su papel urbano, social y político. Se articuló alrededor de tres términos que suponen tres modos de relación entre el edificio teatral y la ciudad: el templo, la máquina y la caravana. Aquel debate, de una riqueza inusitada, quedó completamente al margen de la historiografía de la arquitectura italiana y europea, a pesar de su intensidad y de la importancia de todos sus protagonistas para la cultura arquitectónica del siglo XX. Muchos de los arquitectos, críticos e historiadores del momento intervinieron en este debate con propuestas de concurso no construidas, opiniones o análisis rigurosos. Uno de los más activos fue Guido Canella, con una amplia carrera como arquitecto de teatros y erudito de la cultura teatral, que además organizó en 1965 un curso de proyectos en el Politecnico di Milano, acompañado de conferencias, mesas de debate y actuaciones de grupos de la vanguardia internacional. Todo este material fue reunido en una publicación que inauguró este debate, y a la que todos sus protagonistas se refirieron en algún momento. Además de Guido Canella, otras personalidades como Bruno Zevi, Maurizio Sacripanti, Constantino Dardi, Mario Manieri-Elia y Manfredo Tafuri, intervinieron marcando un filón cultural que sigue estando completamente olvidado hoy día.AbstractBetween 1965 and 1975 there was a very intense debate in Italy about the theatrical architecture, the theatre building and its urban, social and political role. It was articulated around three terms that assume three ways of relation between the theatrical building and the city: the temple, the machine and the caravan. That debate, of an unusual wealth, was completely absent from the official historiography of Italian and European architecture, despite its intensity and the importance of all its protagonists for the architectural culture of the twentieth century. Many of the most prominent architects, critics and historians intervened in this debate with unbuilt competition proposals, opinions or rigorous analysis. One of the most active was Guido Canella, with a broad career as theatre architect and a scholar of theater culture himself. He organized a design studio at the Politecnico di Milano in 1965, accompanied by lectures, panel discussions and group performances by international avant-garde artists. All this material was gathered in a publication edited by Guido Canella that inaugurated this debate, called The Theatrical System in Milan, and to which all protagonists referred at some point of their respective interventions. In addition to Guido Canella, other personalities such as Bruno Zevi, Maurizio Sacripanti, Constantino Dardi, Mario Manieri-Elia and Manfredo Tafuri, intervened marking a cultural reef that remains widely forgotten today.

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16

Cristina Mecenero, Maria. "Educazione estetica e politica: l'indirizzo CrEA, una sfida per una scuola multiculturale." EXCELLENCE AND INNOVATION IN LEARNING AND TEACHING, no. 1 (June 2020): 105–19. http://dx.doi.org/10.3280/exioa1-2020oa10080.

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L'esperienza di crescere a Milano, in particolare a NoLo, un quartiere di immigrazione che negli ultimi anni si sta caratterizzando grazie a una vivace mobilitazione sociale; una scuola che tenta di rigiocare le sorti di una - quasi scontata - ghettizzazione di alcune classi; l'idea di arte come possibilità formativa e di emancipazione di alunne e alunni e la pratica del Teatro Sociale che invita a riappropriarci dell'intenzionalità politica delle azioni educative e del nostro essere parte di una comunità, ponendosi come frontiera là dove esistono difficoltà individuali e collettive: questi alcuni elementi che fanno da sfondo all'esperienza di un indirizzo scolastico, il CrEA (Creativo-Espressivo-Artistico), preso qui in esame, in una scuola primaria milanese, la "Ciresola". Da anni il cambiamento della popolazione scolastica verso una dimensione sempre più multiculturale ha aperto interrogativi e sollecitato risposte. Mostrare come le scuole possano attivare processi di inclusione, ripensando il rapporto di insegnamento-apprendimento come una dimensione creativa/performativa in sé, è uno degli obiettivi di queste pagine. L'esperienza che si vuole qui presentare è ancora in corso. Essa rilancia l'arte e il teatro come mezzi innovatori che, puntando sull'autorialità del gruppo, si prestano a tradurre nella pratica didattica quotidiana l'idea pedagogica/educativa di una scuola in cui bambine e bambini sono protagonisti del loro apprendere e in cui chi insegna, in alleanza con famiglie e territorio, può contribuire a rigenerare il tessuto sociale della scuola e della città.

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17

Green, William David. "Review of Thomas Middleton’s The Revenger’s Tragedy, Titled La Tragedia del Vendicatore (Directed by Declan Donnellan for Cheek by Jowl) at Piccolo Teatro di Milano, January 2021. Available on YouTube 21–27 May 2021." Shakespeare, August 3, 2021, 1–4. http://dx.doi.org/10.1080/17450918.2021.1958912.

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18

"Emanuela Scarpellini. Organizzazione teatrale e politica del teatro nell'Italia fascista. (Pubblicazioni dell'istituto de Storia medioevale e moderna dell'Università di Milano, number 9.) Florence: La Nuova Italia. 1989. Pp. xvi, 385. L. 44,250." American Historical Review, October 1991. http://dx.doi.org/10.1086/ahr/96.4.1235-a.

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