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dcterms.contributor.authorPieri, Marzia
dc.date.accessioned2020-01-08T10:04:44Z
dc.date.available2020-01-08T10:04:44Z
dcterms.date.issued2019
dcterms.identifier.citationPieri, Marzia, "ll diario quotidiano di un attore: i taccuini di Ruggero Ruggeri." Sinestesieonline, A. 8, no. 26 (Maggio 2019) : 25-29it_IT
dcterms.identifier.issn2280-6849it_IT
dcterms.identifier.urihttp://sinestesieonline.it/wp-content/uploads/2019/06/maggio2019-14.pdfit_IT
dcterms.identifier.urihttp://elea.unisa.it:8080/xmlui/handle/10556/4048
dcterms.identifier.urihttp://dx.doi.org/10.14273/unisa-2265
dc.description.abstractThe long career of Ruggero Ruggeri started in the late Naturalism and finished at the beginning of the 1950s without knowing crisis or setbacks. During this period the old Italian theatre was replaced by a new role acquired by the direction, but this revolution seemed not to touch the world-famous actor, always devoted to his role of artistic director and to the 1800s century tradition and to the more commercial French theatre. Ruggeri interpreted autonomously his characters, included his hobbyhorses, the Aligi of D’Annunzio and the Enrico IV of Pirandello, and embodied, according to Silvio d’Amico, the last example of the Great Italian Actor. His notebooks (1888-1953) documented meticulously his everyday work and represented an important document still unexplored.it_IT
dcterms.format.extentP. 25-29it_IT
dc.language.isoitit_IT
dcterms.publisher.alternativeAvellino : Associazione culturale Internazionale Sinestesieit_IT
dcterms.sourceUniSa. Sistema Bibliotecario di Ateneoit_IT
dcterms.subjectRepertorioit_IT
dcterms.subjectGrande attoreit_IT
dcterms.subjectAutobiografiait_IT
dcterms.subjectPirandelloit_IT
dcterms.subjectD’Annunzioit_IT
dcterms.subjectRepertoireit_IT
dcterms.subjectGreat actorit_IT
dcterms.subjectAutobiographyit_IT
dcterms.titleIl diario quotidiano di un attore: i taccuini di Ruggero Ruggeriit_IT
dcterms.typeJournal Articleit_IT
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