Academic literature on the topic 'Teatro Italia (Venice, Italy)'

Ramón Gaya fijó su residencia en Italia tras un viaje a Europa en el verano de 1952. El deslumbramiento por Venecia, la presencia creciente de escritores españoles que volvían del exilio americano y la acogida en Roma de los círculos literarios italianos propició que Italia fuese el país de elección para el pintor. En este artículo se recorre la huella de Italia en el epistolario y los escritos de Gaya. Ramón Gaya settled in Italy after a trip to Europe in the summer of 1952. The dazzling of Venice, the growing presence of Spanish writers returning from American exile and the reception in Rome of Italian literary circles led to Italy being the country of choice for the painter. This article traces the footprint of Italy in Gaya's letters and writings.

@FP = CHARLES DICKENS ADAMANTLY DECLARES he will not indulge in “any grave examination into the government or misgovernment of any portion” of Italy, because “that beautiful land” requires only aesthetic reflections that “have ever a fanciful and idle air” (1); and John Ruskin relentlessly insists on turning attention away from the action in the Italian streets and inward toward the motionless stones of buildings, because Venice, “Queen of Marble and of Mud,” has no political dimension (“Stones of Venice” 9: xxix). Elizabeth Barrett Browning, by contrast, masterfully tackles the problem of the emerging nation’s political image in Victorian England. These comments by prominent Victorian men of letters reflect the conventional British formulation of Italy through the nineteenth century “as the locus of the feminine and silent properties of space, painting, nature, and the body — a place outside of history where temporal motion had ceased” (Bailey 94).1 Indeed, a commonplace implicit in the British definition of pre-national Italy is the idea of la bella Italia as apolitical and even ahistorical. But from 1815 onwards, as Italians became increasingly dissatisfied under their new Austrian rulers, the British equation between Italy and art, Italy and beauty, became increasingly out of touch with the Italian republican movement.2

The third quarter of the seventeenth century brought considerable changes in the social composition of theatre audiences in Italy. Gone was the exclusiveness of the ducal and academy theatres whose audiences of royalty and nobility attended by invitation only. These were replaced by an audience of a growing bourgeoisie with an ability to pay. As soon as this audience appeared entrepreneurs, quick to recognize the possibilities, opened public playhouses. Theatrical activities became a commercial rather than an artistic, intellectual or political enterprise. Although some vestiges of the past, such as the royal box for important dignitaries, were retained, public theatres soon assumed a more democratic aspect, patronized by audiences who had earned the right to attend by means of personal enterprise rather than by accident or privilege of birth. Foremost in this phenomenon was the city of Venice whose theatrical activities soon became the model. Mercantile families like the Tron, Grimani, Giustinian and Vendramini opened the first public playhouses in the 1630s. Audiences of courtiers and courtesans, Dukes and Doges, Princes and panderers, merchants and magistrates soon became involved in a social mix that would have amazed and scandalised the more formal audiences of earlier times.

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.

The article covers international and diplomatic aspects of the conflict of Sigismund of Luxembourg, the King of Hungary and the Romans, and the Republic of Venice in 1411—1413. Venetian claims to Dalmatia that nominally belonged to the Hungarian Crown were the formal reason of the conflict. The article notices that the main battleground was in Italia, not Dalmatia. The author thereupon concludes that the actual factor of the events was the competition between Italian states. But contrary to the traditional opinion the researcher assigns the part of the main power that competed with Venice to Florence, not Genoa. In the early fifteenth century it entered into the struggle for the outlet to the sea and sought the extension of its influence for account of new trade lines that connected the Mediterranean with Central and North Europe. Meanwhile, the head-on clash of the republics was ruled out because their relations guaranteed them both the safety of the political balance of Italy and the defence of the peninsula from external actions. But Florence could force Venice by the manipulation by the Italian policy of the King Sigismund. The instrument of the pressure was the potential union of the King and the Pope John XXIII. It was the interests of Florence that made it possible to explain the reason that kept them from direct official contacts. The investigation of the nature of the conflict reveals also its indirect connection with historical events related to West European states, Poland, the Teutonic Order, the Byzantine Empire, the Ottomans and the Golden Horde.

Este artículo propone la lectura de dos poemas escritos por Ramón Gaya, bajo el influjo del acontecimiento que marcó un punto de inflexión en la evolución de su obra, a saber: su regreso a Europa, el descubrimiento de Venecia y su decisión de instalarse definitivamente en Italia. Al considerar a Gaya como un pintor que escribe, se aprecia con claridad que sus escritos y sus pinturas se reflejan y se complementan. Aquí el diálogo entre sus poemas y su pintura permite localizar metáforas, analogías y alegorías, claves en la interpretación de su obra, tanto pictórica como escrita. This article proposes the reading of two poems by Ramón Gaya, written under the influence of the event, which marked a turning point in the evolution of his work, namely: his return to Europe, the discovery of Venice and his decision to settle permanently in Italy. By viewing Gaya as a painter who writes, it is clear that his writings and paintings reflect and complement each other. This dialogue between his poems and his painting allows us to locate the metaphors, analogies and allegories, key in the interpretation of his work, both pictorial and written.

The determination of the trophic status of transitional ecosystems from the physico-chemical and biological point of view is one of the requirements of the European Water Framework Directive (WFD 2000/60/EC). In Italy, its determination is implemented by the Regional Agencies for Environmental Protection (ARPAs) that have activated multi-annual monitoring programs. However, as the availability of funds is increasingly scarce, the number of environmental parameters to detect environmental changes should be conveniently managed. The high number of environmental parameters, nutrient and macrophyte datasets available for the LTER-Italia site “Venice lagoon” can be an useful tool to analyze the trophic changes over recent years and to foresee environmental evolutions. Nutrient data on a spatial basis have been available since 1948, whereas macroalgal maps date back to 1980. The aim of this paper is to highlight the changes of the trophic status of the lagoon since the middle of the 20th century by considering the concentrations of nutrients in the surface sediments and in the water column, the variation of some physico-chemical parameters and the biomass of macroalgae and also to foresee the way it will possibly evolve. In fact, after many anthropogenic impacts that in the second half of the 20th century affected the lagoon, starting from the year 2010, the ecological status is progressively improving. Nutrients show a significant reduction both in the water column and in surface sediments, and the macrophytes are represented by species of higher ecological value while the opportunistic species such as the Ulvaceae are in strong regression.

Las obras defensivas de Portobelo y del Chagre en la costa caribeña panameña representan un testimonio importante sobre la aplicación en el Nuevo Mundo, de modelos de fortificaciones desarrolladas en Eu-ropa entre los siglos XVI y XVIII.Las fortificaciones de Panamá fueron proyectadas por el ingeniero italiano Battista Antonelli a finales del siglo XVI, en el ámbito de un amplio plan estratégico de defensa regional para el área del Caribe. Las obras que se ejecutaron están entre las primeras aplicaciones en América de la tipología de la “Fortificazione alla Moderna”, así como, se realizaron en Italia y seguidamente, se perfeccionaron en el teatro bélico Europeo. Después del ataque inglés llevado a cabo por el almirante Vernon en 1740, la Corona Española decide proceder a un nuevo y detallado plan de redefinición de sitios que contará en la obra, principal-mente, con los ingenieros del Real Cuerpo de Ingenieros, Ignacio Sala y Manuel Hernández, quienes actualizarán los sitios de Portobelo y el Chagre de acuerdo con los nuevos modelos planteados en Francia a finales del siglo XVII, por Vauban.La comparación de las soluciones adoptadas permite observar la evolución de los modelos de fortifica-ciones dentro de un lapso de tiempo de casi ciento cincuenta años. En paralelo, el análisis de los acon-tecimientos proyectuales y constructivos permiten recorrer el crecimiento de la figura del ingeniero mi-litar en España y la evolución de su retrotierra cultural y formativo que culmina con la fundación del “Real Cuerpo de Ingenieros” en 1711 y de la “Real Academia Militar de Matemáticas de Barcelona”. Abstract The defensive works of Portobelo and Chagre on the Caribbean coast of Panama represent an important testimony of the application in the New World of models of fortifications developed in Europe between the sixteenth and eighteenth centuries.The fortifications of Panama were designed by the Italian engineer Battista Antonelli at the end of the 16th century, within the framework of a comprehensive regional defense strategic plan for the Caribbean area. The works that were executed are among the first applications in America of the typology of the "Fortificazione alla Moderna", as well as, they were developed in Italy and later, perfected in the European war theater. After the English attack carried out by admiral Vernon in 1740, the Spanish Crown decides to proceed to a new and detailed plan of redefinition of sites that will have in the work, mainly with the engineers of the “Real Cuerpo de Ingenieros”, Ignacio Sala and Manuel Hernández, who will update the sites of Portobello and Chagre according to the new models developed in France in the late 17th century by Vauban.The comparison of the adopted solutions allows to observe the evolution of the models of fortifications within a temporal arc of time of almost one hundred and fifty years. At the same time, the analysis of the projective and constructive events allows to traverse the development of the figure of the military engineer in Spain and the evolution of its cultural and formative background culminating with the foun-dation of the “Real Cuerpo de Ingenieros” in 1711 and the “Real Academia Militar de Matemáticas de Barcelona”.

In the last years we have witnessed an ever-increasing politicization of urban tourism. The questioning of the tourist industry, which has become part of the actions of several groups of citizens, has proved to be as articulated as diversified. Often, many of these protests share the proliferation of creative tactics that highlight the relation between the symbolic mediation and the resignification of public space. Through an ethnographic work, which runs between the urban centres of Barcelona and Venice, the research fits inside the increasing dynamicity of the present critique to the touristification of the city. Moreover, it analyses different forms of protest, which directly emerge from grassroot projects and aim to a socio-political change. The purpose is to contribute and problematize in a complex way to the debate on contemporary forms of claim within the touristified city. On the whole, the thesis wants to be an incursion by social sciences in the debate on overtourism. The aim is to integrate spatial, cultural and reflexive focus both on the urban collectives and the researcher that approaches such practices.
Negli ultimi anni si è assistito ad una crescente politicizzazione del turismo urbano. La critica all’industria turistica, entrata ormai nell’agenda delle azioni di diversi gruppi cittadini, si è dimostrata tanto articolata quanto diversificata. Spesso, molte di queste proteste condividono la proliferazione di tattiche creative che rendono evidente il rapporto tra mediazione simbolica e risignificazione dello spazio pubblico. Attraverso un lavoro etnografico che si snoda tra i centri urbani di Barcellona e Venezia, la ricerca si inserisce all’interno di questa crescente dinamicità dell’attuale critica alla turistificazione della città ed analizza diverse forme di protesta che emergono direttamente da progetti dal basso ed aspirano ad un cambiamento socio- politico. L’obiettivo è quello di contribuire e problematizzare in maniera complessa il dibattito sulle forme contemporanee di rivendicazione all’interno della città turistica. Nel complesso, la tesi si presenta come un’incursione delle scienze sociali nel dibattito sull’overtourism con il proposito di integrare focus spaziali, culturali e riflessivi sia dei collettivi urbani, sia dello stesso ricercatore che si avvicina a queste pratiche.

Orientador: Luiz Cesar Marques Filho
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-22T18:03:34Z (GMT). No. of bitstreams: 1 Carvalho_LarissaSousade_M.pdf: 23224889 bytes, checksum: 87808a1fa3818c985298723245553554 (MD5) Previous issue date: 2013
Resumo: A pesquisa apresenta como principal objeto de análise a obra De gli habiti antichi, et moderni di diuerse parti del mondo (1590), do italiano Cesare Vecellio (c.1521-1601). Uma segunda edição foi publicada sob o título Habiti antichi et moderni di tutto il mondo em 1598. Essa apresenta um projeto diverso da primeira, tendo seu conteúdo iconográfico ampliado, ao contrário dos comentários do autor, omitidos ou simplesmente reduzidos. O surgimento deste gênero de publicação, os chamados "livros de vestuário", ocorreram durante o século XVI, juntamente ao interesse cartográfico e enciclopédico. A época do autor presenciou a rápida expansão da imprensa em Veneza, dos studioli, os cabinets de curiosité e os Wunderkämmern, além de acompanhar a criação de uma rede interligada de publicações que firmavam um repertório de "tipos sociais" repetidos ao longo desses anos e que auxiliava na visão que, sobretudo os venezianos, tinham do restante do mundo. O teor da obra, grosso modo, permeia os costumes - em um sentido bastante amplo - aliados à representação de uma série de trajes. Vecellio não apenas representa a vestimenta europeia, como também inclui exemplares asiáticos, africanos e americanos. Essa antologia do vestuário mundial também é considera por alguns autores como a primeira história moderna do vestuário, já que são concebidas imagens comentadas de povos da Antiguidade até o século do autor, em um amplo espectro geográfico. No presente trabalho intenta-se perceber, portanto, o projeto da obra vecelliana. A partir de três ensaios discutiremos a respeito da ruína de valores antigos e da mutação (a veste aliada ao mito veneziano, a questão da boa governança e prosperidade das cidades, a relação entre antigo e moderno etc.); em seguida, problematizaremos a postura de Veneza ao projetar uma imagem positiva da cidade em meio a um contexto conturbado, bem como o modo vecelliano de dialogar com essa questão mediante a apresentação de "tipos sociais" (doge, virgem veneziana, cortesã...) associados à auto-imagem do Estado; e, por fim, apresentamos um panorama de sua obra, cujo objetivo será compreender a postura e o discurso de nosso autor frente à alteridade, discutindo, assim, algumas noções e a problemática do "Eu" que se define a partir do "Outro". Em correlato, propõe-se a tradução parcial do conteúdo da obra para uma versão portuguesa (inédita e comentada), no intuito de contribuir para as discussões teóricas - ínfimas em nossa realidade brasileira -, sem abandonar, entretanto, o escopo aqui descrito
Abstract: This research presents as main object of analysis the book De gli habiti antichi, et moderni di diuerse parti del mondo (1590), by the Italian author Cesare Vecellio (c.1521-1601). A second edition was published with the title Habiti antichi et moderni di tutto il mondo in 1598. This edition presents a project different from the first one. Its iconographic content is expanded, whereas the author's comments are either reduced or even omitted. The emergence of this type of publication, called costume books, occurred during the Sixteenth Century, along with the cartographic and encyclopedic interest. The period in which the author lived, witnessed the rapid expansion of the printing press in Venice, as well as of the studioli, the cabinets de curiosité and Wunderkammern. Apart from that, those years followed the creation of an interconnected network of publications that established a repertoire of "social types", repeated throughout the years, and helped in the idea that, especially the Venetians, had about the rest of the world. The content of the work covers the habits - in a very broad sense - combined with the representation of a variety of costumes. Vecellio does not only represent European clothing, but he also includes Asian, African and American costumes. This anthology of world clothing is also considered, by some authors, as the first modern history of costume, since it covers commented images from Antiquity until the time of the author, in a broad geographical spectrum. In this text we aim to understand the project of the Vecellian work. Starting with three essays of the current study, we will discuss the ruin of the old values and the mutation (clothing associated with the Venetian myth, the issue of good governance and prosperity of cities, the relationship between ancient and modern etc.); then we will problematize the posture of Venice, which projects a positive image of the city within a turbulent context, as well as the Vecellian way of discussing this subject while presenting the "social types" (doge, Venetian virgin, courtesan...), associated with the State's self-image; finally, we will present an overview of his work, whose purpose will be to understand the author's posture and the discourse towards otherness, discussing some problematic notions of the "I", which is defined from the confrontation with the "Other". Furthermore, together with this, we propose a partial translation of the content of the book into a Portuguese version (unpublished and commented), with the intention of contributing to the theoretical debate - very restricted in our Brazilian reality -, without abandoning, however, the scope described herein
Mestrado
Historia da Arte
Mestra em História

Nel Triennio 1796-1799, si svolge la breve parabola della Repubblica Cisalpina, una delle unità politiche fondate da Napoleone Bonaparte nel corso della Campagna d’Italia. Il presente lavoro studia la cultura teatrale e gli aspetti performativi che caratterizzano la Cisalpina e soprattutto la sua capitale, Milano, in questa congiuntura storica. La tesi che si vuole sostenere riguarda l’uso delle pratiche performative come strumento di educazione popolare e di diffusione dei principi della Rivoluzione del 1789. Un intento perseguito, con differenti finalità, tanto dalle autorità francesi quanto dai patrioti italiani filo-rivoluzionari. La trattazione si articola intorno a tre nuclei fondamentali: i mutamenti urbanistici e architettonici intervenuti a Milano durante il Triennio, la teoria e la pratica teatrale, la forma para-performativa delle feste pubbliche. Le relazioni culturali tra Italia e Francia sono state oggetto di particolare attenzione. La documentazione su cui lo studio si basa è costituita da edizioni a stampa di testi teatrali, descrizioni di feste, editti, corrispondenza e periodici dell’epoca conservati presso biblioteche e archivi milanesi e parigini.
In the Triennium 1796-1799 took place the short life of the Cisalpine Republic, one of the political units founded by Napoleon Bonaparte during the Italian Campaign. This work studies the theatrical culture and the performing aspects which characterized the Cisalpine Republic and particularly its capital, Milan, in that historical juncture. The thesis asserted here is about the use of performing practices as an instrument of popular education and spreading of the principles of the 1789 Revolution. This aim was pursued by both French authorities and Italian pro-Revolution patriots. This work tackles three main points: the architectural and urban changes which affected Milan during the Triennium, the theory and practice of theatre, the public celebrations. The cultural relations between Italy and France have been investigated with special attention. This study is based on some documents kept in archives and libraries of Milan and Paris, such as printed editions of theatrical plays, records of celebrations, correspondence and periodicals from the age of the Cisalpine Republic.

Notre travail cible l’œuvre théâtrale complète de Beniamino Joppolo (1906-1963). La première partie suit le cheminement biographique, esthétique, poétique, artistique, politique de l’auteur et spécifie la situation historique dans laquelle chacune des quarante-sept pièces a pu être élaborée. Elle est subdivisée en quatre parties, respectivement dédiées à la période de jeunesse, aux années milanaises, à la période dʼaprès-guerre et à la décennie parisienne. La seconde partie détaille lʼexpérience complexe de I carabinieri, faire-valoir indiscuté de l’œuvre théâtrale joppolienne. Elle présente une étude génétique comparative des différentes versions de la pièce, et analyse la collaboration avec le dramaturge J. Audiberti, et les épreuves de la scène de (R. Rossellini, 1962) et de lʼécran (J.-L. Godard, 1963). La troisième partie reprend la multitude d’indices donnés par lʼauteur en vue dʼune concrétisation scénique des productions, et propose une approche personnelle de trois pièces proches des mouvances absurde, expressionniste et magico-réaliste. Une bibliographie détaillée précède des annexes indispensables : une frise chronologique structurée ; une fiche-synopsis de présentation pour chaque pièces répertoriée ; les traductions de Lʼimbottigliaggio mostro [Monstrueux embouteillage], Lʼattesa [Lʼattente], Il fiore giallo e lʼalbero parlante [Paroles de fleur dʼor et dʼarbre transparent], et I microzoi [Les animalcules] ; l’entretien de Giovanni Joppolo, fils de l’auteur, réalisé en 2013 ; trois index (noms et notions, documents iconographiques, index général)
My research studies Beniamino Joppolo’s (1906-1963) complete theatrical works. The first part retraces the author’s biographical, aesthetic, poetic, artistic and political life and presents, in so doing, the historical context of the elaboration of each of his forty-seven plays. This part is subdivided in four sections dealing with respectively his youth, the Milan years, the post-war period and the Parisian decade. The second part focuses on I carabinieri and the complex experience that the play, indisputably a hallmark in Joppolo’s work, generates. It presents a genetic and comparative study of the different versions of the play, and analyses Joppolo’s collaboration with playwright J. Audiberti, and the workings of its adaptation for the stage (R. Rossellini, 1962) and for the screen (J.-L. Godard, 1963). The third part tracks the many clues left by the author to explore the stage adaptations of his productions and offers personal insights into three plays, related to the absurd, expressionist and magic-realist movements. A detailed bibliography precedes the required appendices : a structured chronological table; a synopsis for each identified play; the translations of Lʼimbottigliaggio mostro [Massive traffic jam], Lʼattesa [The wait], Il fiore giallo e lʼalbero parlante [The golden flower and the talking tree], et I microzoi [The microzoons] ; Giovanni Joppolo’s, the author’s son, interview, conducted in 2013 ; three indices (names and notions, illustrations, general index)
Il nostro lavoro è incentrato sull’opera teatrale di Beniamino Joppolo (1906-1963).La prima parte segue il percorso biografico, estetico, poetico, artistico e politico di J., especifica la situazione storica in cui ogni singola opera (47 in totale) è stata elaborata. Essa èsuddivisa in quattro capitoli dedicati al periodo giovanile, agli anni milanesi, al periodo deldopoguerra e al decennio parigino.La seconda parte dettaglia l’esperienza complessa de I carabinieri, pièce simbolicadell’intera produzione teatrale joppoliana. Si costituisce di uno studio genetico comparativodelle varie versioni del testo, e di un’analisi della collaborazione di J. con il drammaturgo J.Audiberti, e delle due concretizzazioni maggiori, quella registica di R. Rossellini (1962) equella cinematografica di J.-L. Godard (1963).La terza parte riprende gli indizi dati da J. con l’obbiettivo di realizzare scenicamente leproduzioni. Essa propone inoltre un approccio più personale di tre pièce rispettivamenteassociabili alle correnti assurda, espressionista e magico-realista.Una bibliografia dettagliata precede una serie di documenti annessi indispensabili: unatabella cronologica strutturata; una presentazione sintetica di ogni pièce repertoriata; letraduzioni de Lʼimbottigliaggio mostro [Monstrueux embouteillage], Lʼattesa [Lʼattente], Ilfiore giallo e lʼalbero parlante [Paroles de fleur dʼor et dʼarbre transparent], e I microzoi [Lesanimalcules]; l’intervista di Giovanni Joppolo, figlio dell’autore (2013); e tre indici (nomi enozioni, documenti iconografici, indice generale)

El Teatro popular de Sciacca de Giuseppe Samonà y su hijo Alberto –dos importantes guras de la arquitectura italiana– es una de las más significativas obras italianas de la segunda mitad del siglo XX. Inaugurado en 2015, después de una larga construcción de cuarenta años, el teatro tiene una original implantación con doble sala; está compuesto por tres grandes volúmenes (un paralelepípedo, un cono y una pirámide) y expresa una arquitectura de la imagen, una idea de un espacio determinado por formas puras y del uso de un único material (el hormigón visto). El uso de tres formas arquetípicas es una vuelta a los orígenes, una idea casi clásica y racional de la arquitectura; al mismo tiempo es la evocación de una perfección arcaica. Para esta idea es fundamental el empleo del hormigón, conceptualmente entendido como material primordial, que participa en la expresión de estabilidad y duración. El edificio se convierte en icono y se inserta en el paisaje como un monumento. En este sentido, esta arquitectura es un homenaje a Le Corbusier, construida a través de la interpretación del lenguaje del gran maestro. El Teatro de Sciacca representa, probablemente, el más notable ejemplo de arquitectura le corbuseriana en Italia.***The Sciacca Popular Theatre by Giuseppe Samonà and his son Alberto - two important figures of Italian architecture - is one of the most significant Italian building of the second half of the 20th century. Inaugurated in 2015, after a forty years long construction, the building has an original layout with two auditoriums; composed by three big volumes (a parallelepiped, a cone and a pyramid) and expresses an architecture of image, an idea of space determined by pure forms and using a single material (the raw concrete). The use of three archetypal forms is a return to the origin, an idea al- most classical and rational of architecture; at the same time is the evocation of an archaic perfection. Within this context, the use of raw concrete is also fundamental. Understood as primitive material, it participates to the expression of stability and durability across the building. As a result, the building is converted to an icon that sits in the landscape like a monument. In this sense, this architecture is a tribute to Le Corbusier, built through the interpretation of the great master language. The Sciacca Theatre represents, probably, the most remarkable example of architecture by Le Corbusier in Italy.