New theatre in Italy, 1963-2013
著者
書誌事項
New theatre in Italy, 1963-2013
(Routledge advances in theatre and performance studies)
Routledge, 2018
- : hbk
- タイトル別名
-
Nuovo teatro made in Italy, 1963-2013
大学図書館所蔵 全2件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes index
内容説明・目次
内容説明
New Theatre in Italy 1963-2013 makes the case for the centrality of late-millennium Italian avant-garde theatre in the development of the new forms of performance that have emerged in the 21st Century. Starting in the Sixties, young artists and militants in Italy reacted to the violence in their streets and ruptures in the family unit that are now recognized as having been harbingers of the end of the global post-war system. As traditional rituals of State and Church faltered, a new generation of cultural operators, largely untrained and driven away from political activism, formed collectives to explore new ways of speaking theatrically, new ways to create and experience performance, and new relationships between performer and spectator. Although the vast majority of the works created were transient, like all performance, their aesthetic and social effects continue to surface today across media on a global scale, affecting visual art, cinema, television and the behavioural aesthetics of social networks.
目次
Preface. 1. The Sixties. Theate - literature - music: manifestoes, querelles, intermedia 1963-1967. 1.1. Fact and Atmosphere. 1.2. Literature calls for a theater of dissent and experimentation. 1.3. The querelle between literature and theatre: Gruppo '63. 1.4. The actor is the poet of oral language: Pasolini's Manifesto. 1.5. Theater at the center of society: The Ivrea Conference. 1.6. Intermedia and Musical Theater. 2. The Seventies (1968-1977): Setting Out. 2.1. Leaving Behind Theaters, Plays, Roles. 2.2. Theater to Change the World. 2.3. In Search of a Common Base: the Manifesto of arte povera. 2.4. The Van: Travel and Rest, Load and Unload. 2.5. A Collective Book, a Body of Joy. 2.6. Between 1968 and 1977: Action, Post-avant-garde, Third Theater. 2.7. Implosive/Expansive. 3. Between Death and Rebirth: the Eighties (1978-1988). 3.1. Unhappy Consciousness of the Late Seventies. 3.2. Neo-avant-garde/Post-avant-garde/Postmodern/Trans-avant-garde. 3.3. Postmodern: Metropolitan Landscape. 3.4. Reflecting on Theory: Anthropology and Postmodern = Intercultural. 3.5. Dawning: the Artwork Reborn. 4. Ideology: A Bad Habit to Leave Behind. The Nineties (1989-1999). 4.1. Revisionism and Conciliation. 4.2. Living in Transition. The Balance of "Pregress". 4.3. Being Posthumous. 4.4. Televised Pre-theater Telling True Stories. 4.5. Almost an epilogue. 5. Liveness - Play - Frontality: the 2000s. 5.1. Tragedy: End as Beginning. 5.2. Project: Producing Intermedia. 5.3. Dramaturgies of Diffuse Bodies. 5.4. Reality Trend and Pop. 5.5. Narrating by Elision and Detail. 5.6. Play - Event - Scene. 5.7. Confronting the Spectator. 6. Dramaturgies of Spectacle and Literary text. 6.1. Continuous and Discontinuous in New Theater. 6.1.1 Tradition in New Theater. 6.1.2. Cultures of Adoption and Orphancy. 6.1.3. The Workshop as Mode of Production. 6.1.4. Performance Text and Production Process. 6.2. The Theatrical Vocation of Pier Paolo Pasolini. 6.2.1. Experience. 6.2.2. Towards Effective Theater. 6.3. Testori: In the Belly of Theater. 6.3.1. The Word become Flesh. 6.3.2. Oedipus and Cleopatras: Theatre's Latrine. 6.4. Franco Scaldati: An Enchanted Garden Where No One Dies. 6.4.1. Fluid Texts Without Genealogy: Eternal Becoming. 6.4.2. A Sensory Theater-World. 6.4.3. Shadow-Double Marionettes. 6.4.4. I Build Shadows. 7. Dramaturgy of Space. 7.1. Sensory-Motor Rupture. 7.2. Dynamic Simultaneous Space. 7.3. Audio-Chromatic Space. 7.4. Analytic Space. 7.5. Monitor Space. 7.6. Landscape and Errancy. 7.7. Constructing Space. 7.8. Installation and Digital Space. 8. Plural modes of the actor. 8.1. Actor and theme: critical and methodological issues. 8.2. Actor as collective body. 8.3. Without language or subject: from the monolog to the solo. 8.4. Blocking the body and freeing the voice. 8.6. Word as event. 8.7. Autofiction. 8.8. Over-representing representation. 8.9. Actor-machine-sculpture-animal-cyborg. 8.10. Spectral amplitude of the performer. 8.11. Audio body and actant.
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