This exhibitions presents a fascinating series of documents illustrating how Eleonora Duse worked on the plays she staged or unrealised projects. Preserved in the Eleonora Duse Archive, the scripts, printed texts and prompters’ copies reveal how the actress wrote notes, made cuts and variations, and added annotations of various kinds. The exhibition provides great insights into her own personal way of reading, interpreting and exploring. The twenty texts on show are effectively complemented by related photographs, reviews, posters and letters.
The scripts are by seven playwrights: D’Annunzio and Ibsen (the most frequently staged), Shakespeare (translated by Arrigo Boito), Gallarati Scotti, Maeterlinck, Praga, and Scribe with Legouve.
Promoted by the Cini Study Centre of Documentary Research into European Theatre and Opera and Institute of Art History, the Archivio del Moderno di Mendrisio, the Scuola dottorale interateneo in Storia delle Arti di Venezia, the Soprintendenza per i Beni Storici, Artistici ed Etnoantropologici del Friuli Venezia Giulia, Trieste, and the Istituto Storico Austriaco, Rome, the conference sets out to explore the spread of new uniform stylistic models in early 19th-century Europe. From Paris to Vienna, urban design, architecture, the arts and taste were influenced by new uniform paradigms, which emerged particularly strongly in public buildings, schools, hospitals, libraries, theatres and city gates. For all of this the study of the ancient world was the starting point.
Participants at the conference include Partecipano Maria Ida Biggi, Università Ca’ Foscari di Venezia; Andrej Betlej, Jagiellonian University, Krakow; Luca Caburlotto, Sovrintendente per i beni storici, artistici ed etnoantropologici del Friuli Venezia Giulia; Martina Carraro, Università IUAV di Venezia; Giovanna D’Amia, Politecnico di Milano; Elena Doria, Università IUAV di Venezia; Renzo Dubbini, Università IUAV di Venezia; Rossella Fabiani, Sovrintendenza per i beni storici, artistici ed etnoantropologici del Friuli Venezia Giulia; Jean-Philippe Garric, Université Paris 1 Panthéon-Sorbonne; Andreas Gottsmann, Direttore Isituto Storico Austriaco di Roma; Alexander auf der Heide, Università degli Studi di Palermo; Richard Kurdiovsky, Austrian Academy of Sciences, Vienna; Ewa Manikowaka, Polish Academy of Sciences, Warsaw; Carlo Mambriani, Università degli studi di Parma; Luigi Mascilli Migliorini, Università degli Studi di Napoli L’Orientale; Marco Pogacnik, Università IUAV di Venezia; Francesco Repishti, Politecnico di Milano; Letizia Tedeschi, Archivio del Moderno, Mendrisio; Irena Žmuc, City Museum and Galleries of Ljubljana; Giudo Zucconi, Università IUAV di Venezia.
After the success in the summer of 2015, the Study Center Theatre and Opera, in collaboration with the University Ca’ Foscari of Venice and with the sponsorship of the Committee for the five hundredth anniversary of the Ghetto of Venice, organizes the second edition of the Shakespeare in Venice Summer School. The program will be divided over two weeks of intensive studies with a number of events open to the public, and will be attended by internationally renowned experts and teachers. The Summer School is part of the European project Shakespeare and beyond the Ghetto: staging Europe across cultures, involving several international partners, including Warwick University, Queen Mary University of London, Ludwig – Maximilians – Universität München, Tony Bulandra Theatre.
The course includes the participation of internationally renowned teachers such as:
Jerry Brotton, David Bryant, Tom Cartelli, Fernando Cioni, Karin Coonrod, Tobias Döring, Paul Edmondson, Tibor Fabiny, Stephen Greenblatt, Diana Henderson, David Scott Kastan, Carol Chillington Rutter, David Schalkwyk, James Shapiro, Boika Sokolova, Stanley Wells
Directors: Maria Ida Biggi and Shaul Bassi
The Summer School will be held to coincide with a performance of The Merchant of Venice, by the Compagnia de ‘ Colombari , set in the Venetian Ghetto and promoted to celebrate the four hundred years after William Shakespeare’s death and the five hundred years of the creation of the ghetto itself.
This year a series of academic initiatives and music events to be held in various venues will mark the third centenary of the birth of Neapolitan composer Niccolò Jommelli. The initiatives have been promoted by the
Study Centre for Documentary Research into European Theatre and Opera in collaboration with the Second University of Naples, the Pietà de’ Turchini Foundation (Naples), the Francesco Cilea Conservatoire (Reggio
Calabria), the Teatro San Carlo (Naples), the Italian Institute for the History of Music, the University of Vienna, and the Divino Sospiro Study Centre (Lisbon). In Venice from 31 October – 1 November, there will be
a one-day conference entitled The Italian seasons of Niccolò Jommelli. The conference will analyse the composer’s sacred and profane Italian repertoires, his relations with all the stagecraft professions and with the cultural life of the Serenissima during the course of his career.
The book launch series dedicated to the latest Fondazione Giorgio Cini publications resumes in September.
The first presentation on 15 September will feature the recent volumes of Studi Veneziani, the prestigious journal edited by Institute for the History of the Venetian State and Society. As usual, the journal includes articles on Venetian and Veneto culture, history, politics and art, including a long essay by François-Xavier Leduc on the Venetian aristocracy’s management of their property from the 14th century on.
On 7 October the latest issue of Arte Veneta will be unveiled. For the sixtieth anniversary of the creation of the Institute Art History, the journal, which was founded in 1947 under the presidency of Giuseppe Fiocco with Rodolfo Pallucchini as academic director, will have a revamped editorial and graphic look with more lavish colour illustrations to accompany the fascinating academic articles. The themes dealt with range from the Trecento to the Settecento, and include some important new findings. A very useful new feature, as of this issue, is the free downloadable e-book of the “Bibliography of Veneto Art”.
Lastly, on 29 October the highlighted book will be Luigi Squarzina. Studioso, drammaturgo e regista teatrale, the proceedings from an international conference held at the Fondazione Giorgio Cini from 4-6 October 2012 in collaboration with the Accademia Nazionale dei Lincei. Four years after Luigi Squarzina’s death, the writings collected in this book provide the opportunity to commemorate his life and art by exploring his various multifaceted aspects.
In collaboration with the Department of Philosophy and the Cultural Heritage at Ca’ Foscari University, Venice and Accademia Teatrale Veneta, the Centre for Studies on Theatre has promoted a staged reading of an early
play by Luigi Squarzina, Tre quarti di luna (“Three-quarters Moon”) written in 1949. Before he died the playwright presented his library to the Fondazione Cini, which wishes to commemorate
him with initiatives like this staged reading.
First performed by Vittorio Gassman, Anna Proclemer and Luca Ronconi, the play was staged at the Teatro Valle, Rome in 1953. Today it is reinterpreted by second-year students on an acting
course at the Accademia Teatrale Veneta, directed by the actress Paola Bigatto.
The action takes place in the Fascist period and develops around the theme of the masterpupil, professor-student relationship, to the background of the Gentile educational reform.
The school environment is extended to become a mirror of life and history: “the school has the healthy ferocity of life… anyone who really educates is killed or kills”.
On 27 March, to mark World Theatre Day 2014, the Centre for Theatre Studies has organised a meeting, coordinated by Maria Ida Biggi and Paolo Puppa, on “Theatre in prison”.
Held in collaboration with the Department of Philosophy and the Cultural Heritage at Ca’ Foscari University, Venice, the event will be a chance to focus on the role of theatre in the difficult, problematic prison setting and to exchange views on the relationship between “inside” and “outside”.
After theoretical reflections by Gerardo Guccini, Fernando Marchiori, Andrea Porcheddu, Paolo Puppa and Cristina Valenti, there will be a presentation by Vito Minoia, Valeria Ottolenghi and Daniele Seragnoli of “Suspended Footsteps”, a project by Balamòs Teatro, a theatre company active in Venice prisons since 2006.
The show will be replicate during the Carnival Perdiod on 27 and 28 february and on 3 and 4 March 2014.
Info and reservation:
Segreteria
tel.+39 041 2710234 fax +39 041 2710215 e-mail teatromelodramma@cini.it
The Centre for Study and Documentary Research into European Theatre and Opera presents the latest play from the Gran Teatrino La Fede delle Femmine, included in the series L’après midi d’un Poète,
this year devoted to the Guido Gozzano. Based on a twofold approach, fi lm and drama, Th e Chrysalises’ Friend is an introduction in ten scenes to Gozzano’s world and especially his brief love aff airs.
After exploring the sadomasochistic relationship with the poetess Amalia Guglielminetti, the play focuses on the poet’s entomological passion for butterfl ies and small insects in the Villa Il Meleto, a refuge of rest and quiet during his inexorable, slow fatal illness, and the illusion of salvation on his long Indian journey.
The puppets are moved by Margherita Beato, Margot Galante Garrone, Luisa Garlato and
Paola Pilla to the accompaniment of music by Muzio Clementi, Giuseppe Giordani (Il Giordanello),
Georg Friedrich Handel, György Sándor Ligeti, Jean-Claude Risset, Karlheinz
Stockhausen, Gabriel Pierné and Nicola Vaccaj, and songs by Margot Galante Garrone.
Th is conference is part of the “Fortuny Atlas”, a project promoted by the University of Padua with the Fondazione Giorgio Cini Study Centre for Documentary Research into European Th eatre and Opera, Ca’
Foscari University, Venice, the Fortuny Museum – Fondazione Musei Civici, Venice. The conference will discuss the place of theatre in the career of the multifaceted artist Mariano Fortuny. The sub-themes
include his relations with the leading masters of stage design in the early 20th century, such as Adolphe Appia or Max Reinhardt, his contacts with the world of dance ranging from Isadora Duncan to Ruth Saint Denis and Loie Fuller and his creations and experiments with stagecraft and lighting.
The speakers include Cristina Grazioli, Elena Randi, Carlo Alberto Minici Zotti, Paola Degli
Esposti, Guido Bartorelli, Giuseppina Dal Canton and Marzia Maino from the University of
Padua; Daniela Ferretti, Claudio Franzini and Cristina da Roit from the Fortuny Museum;
Francesco Cotticelli, University of Naples; Jean Louis Besson, Université Paris 8 – Nanterre;
Beatrice Picon-Vallin, CNRS, Paris; Marco Consolini, Université Paris 3 – Sorbonne Nouvelle;
Giovanni Isgrò University of Palermo; Marielle Silhouette, Universitè Paris 10; and Adriana
Guarnieri and Maria Ida Biggi Ca’ Foscari University, Venice, and director of the Centre for
Study and Documentary Research into European Theatre and Opera.
The Centre for Study and Documentary Research into European Theatre and Opera is hosting a training course for teachers and educators in the field of theatre. Taught by the great Russian master Anatolij Vasiliev, the course will be attended by trainee pedagogues from all over the world. Stage pedagogy is an opportunity for meeting and studying with drama teachers and educators: a time and a place available to explore the most important and undervalued of the arts – art education. The hopes of finding new talent and renewing languages depend on this “mother of all arts” as far as the transmission of knowledge and experience is concerned. By means of the etjud method, Anatolij Vasiliev builds up a powerful experience of personal and artistic relations.
The project has been organised by the Accademia Teatrale Veneta and the Fondazione di Venezia
with the Fondazione Giorgio Cini and the collaboration of the Teatro Scuola Paolo Grassi, Milan.
