Curated Panel: Italian ActingI explore the remarkable role that the reform of the old Rappresentativa played in the years ofRisorgimento, and examine the differences of application of the declamatory symbols in the oldRappresentativa and in the New Style that is referred as la romantica, or Drammatica, analysingGustavo Modena, Adelaide Ristori and Gaetano Gattinelli’s prompt books and works. GustavoModena reformed the old style of the Rappresentativa and was an unforgettable patriot of Risorgimentoas well as Ristori and Gattinelli. I explain how Modena steered the drammatica along anew course in the first fifty years of the nineteenth century and shaped the method giving it thegoal to become a National Art; and why Gattinelli’s Dell’Arte Rappresentativa in Italia. Studj riformativi(1850) gives a fine account of the role patriotism played in shaping the method. Gattinellias well as Ristori played in the Reale Compagnia Sarda that was founded in 1821 anddismantled in 1859, just one year before the Unification, though the last season of the Companywas on in 1855. Gustano Modena’s reform of the old Rappresentativa was absorbed by most ofthe actors who were recruited by the Reale Compagnia Sarda, in particular by Gattinelli, whobecame Eleonora Duse’s teacher of Declamation, and, from 1870, directed a theatrical academyin Florence (Reale Accademia de’Fidenti) which was later renamed Reale Accademia diRecitazione and run by Luigi Rasi. We are now able to record that in the course of the nineteenthcentury, the theatrical Italian declamatory system reinforced the political role of some of thegreat Italian actors and actresses.
|Numero di pagine||1|
|Stato di pubblicazione||Published - 2015|