Deciphering la drammatica

Research output: Other contribution

Abstract

Combining metrical structure with gesture and expressiveness, the nineteenth-century Italian actors drew a distinguishedform of acting, to which they referred as la drammatica, that was based on a system of vocal modulation. La voce appositawas the predominant drammatica declamation symbol. It signalled an opening voice, or key-voice, which imposed gradesand intonations on emotions. The drammatica included four dominant types of voce apposita. The leading actor/actressof a company as well as actor-manager (capocomico) portrayed his/her roles and effected his/her acting fellows’ work.When properly applied, the four types of voce apposita produced a spontaneous and attractive recitation. Firstly, the paperwill explain how the author managed to decipher the neglected method of the drammatica; secondly, it will illustrate theapplication of la voce apposita as it emerges from the actors’ prompt-books.
Original languageEnglish
Number of pages1
Publication statusPublished - 2014

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Metrical Structure
Gesture
Managers
Emotion
Recitation
Declamation
Intonation
Modulation
Prompts
Symbol
Expressiveness

Cite this

Deciphering la drammatica. / Sica, Anna.

1 p. 2014.

Research output: Other contribution

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AB - Combining metrical structure with gesture and expressiveness, the nineteenth-century Italian actors drew a distinguishedform of acting, to which they referred as la drammatica, that was based on a system of vocal modulation. La voce appositawas the predominant drammatica declamation symbol. It signalled an opening voice, or key-voice, which imposed gradesand intonations on emotions. The drammatica included four dominant types of voce apposita. The leading actor/actressof a company as well as actor-manager (capocomico) portrayed his/her roles and effected his/her acting fellows’ work.When properly applied, the four types of voce apposita produced a spontaneous and attractive recitation. Firstly, the paperwill explain how the author managed to decipher the neglected method of the drammatica; secondly, it will illustrate theapplication of la voce apposita as it emerges from the actors’ prompt-books.

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