Rosso di San Secondo esprime le inquietudini di un mondo al collasso in cui il potere maschile tende al controllo della donna attraverso il possesso del suo corpo, subendone, tuttavia, il fascino. Nel rapporto erotico tra ...

In 1933-34, the Bloomsbury Group painters Duncan Grant and Vanessa Bell honored twelve actresses and dancers from XVIIto XXcentury in The Famous Women Dinner Service, the Wedgewood dinner set which was one of Bell and ...

One of the first voices of the twentieth century that invoked the essence of the theater as the man in action, in his entirety as body mind, is that of Antonin Artaud. His writings reflect his tormented existential and ...

Augustin works out, in his long production, a complex but unitary vision of creation; according to him, the history is the scene of the course of human actions (theatrum mundus) and God is at the same time creator and sole ...

Numerous ways of research follow, in an auton-omous manner, the evolution of Commedia dell'Arte in different context in which it takes place: from courtly patronage of northern Italy to the atypical ...

Retracing Sapienza’s experience as an actress in two periods, 1941-1960 and 1982- 1989, regarding theater, television and radio, thanks to items never considered before, this essay suggests a new chronology which enlightens ...

The complex and suggestive literary production of Enzo Moscato, prolific and polymorphic writer of the contemporary artistic scene, invariably returns a meticulous fresco of the city of Naples which, in a varied and ...

Prendendo in esame due testi teatrali provenienti dal mondo ispanico, Ay Carme- la! (1987) dello spagnolo José Sanchis Sinisterra e Venecia (1999) dell’argentino Jorge Accame (accomunati dalla presenza ricorrente dell’italiano ...

Questa intervista all’artista Chiara Bersani nasce dall’urgenza di confronto tra le teorie e le ridefinizioni estetiche delle pratiche artistiche. Mentre infatti gli artisti sfidano le rappresentazioni e le concezioni ...

Questo contributo analizza il rapporto tra Luigi Pirandello e Marta Abba attraverso la loro corrispondenza epistolare dal 1925 al 1936. Emergono la storia del Teatro d’Arte e i problemi, sia artistici che personali, del ...