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dc.contributor.authorPiazza, Laura
dc.date.accessioned2019-12-03T14:42:59Z
dc.date.available2019-12-03T14:42:59Z
dc.date.issued2019
dc.identifier.citationPiazza, Laura, "Il paradigma dell’arte sinestetica: la rinascita della messa in scena tragica al teatro greco di Siracusa." Sinestesieonline, A. 8, no. 25 (Gennaio 2019): 13-19it_IT
dc.identifier.issn2280-6849it_IT
dc.identifier.uriIl paradigma dell’arte sinestetica: la rinascita della messa in scena tragica al teatro greco di Siracusait_IT
dc.identifier.urihttp://elea.unisa.it:8080/xmlui/handle/10556/3976
dc.identifier.urihttp://dx.doi.org/10.14273/unisa-2196
dc.description.abstractThe essay describes the main stages of the conception and organization of classical representations in the Greek theater in Syracuse, starting from 1914. Mario Tommaso Gargallo’s and Ettore Romagnoli’s work is set in the age of the open air theater, widespread in Europe since the late nineteenth century, and immediately dialogues with the major expressions of the first avant-garde. The goal of their work was to look at the Greek paradigm to create a new model for the contemporary scene, starting from a staging that can unify together word, music and dance. The National Institute of Ancient Drama (INDA) was able to activate and preserve those exceptional circumstances that, according to Édouard Schuré, had failed in Bayreuth and Orange; and it imposed an ethical and aesthetic model of formal unity, which leaved a mark on the Italian indoor scene of the early twentieth century.it_IT
dc.format.extentP. 13-19it_IT
dc.language.isoitit_IT
dc.publisherAvellino : Associazione culturale Internazionale Sinestesieit_IT
dc.sourceUniSa. Sistema Bibliotecario di Ateneoit_IT
dc.subjectTeatro all’apertoit_IT
dc.subjectIstituto nazionale del dramma anticoit_IT
dc.subjectEttore Romagnoliit_IT
dc.subjectMario Tommaso Gargalloit_IT
dc.titleIl paradigma dell’arte sinestetica: la rinascita della messa in scena tragica al teatro greco di Siracusait_IT
dc.typeJournal Articleit_IT
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