دانلود کتاب New Theatre in Italy: 1963–2013

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Cover
Title
Copyright
Contents
Preface
1 The Sixties: theatre – literature – music: manifestos, Querelles, intermedia: 1963–67
1.1 Fact and atmosphere
1.2 Literature calls for a theater of dissent and experimentation
1.3 The “querelle” between literature and theater: Gruppo ’63
1.4 The actor is the poet of oral language: Pasolini’s Manifesto
1.5 Theater at the center of society: the Ivrea conference
1.6 Intermedia and musical theater
2 The Seventies: setting out: 1968–77
2.1 Coming out: of theaters, spectacles, roles
2.2 Theater to change the world
2.3 In search of a common base: the manifesto of arte povera
2.4 The van: travel and rest, load and unload
2.5 A collective book, a body of joy
2.6 Between 1968 and 1977: action, post-avant-garde, Third Theater
2.7 Implosive/expansive
3 The Eighties: between death and rebirth: 1978–88
3.1 The unhappy conscience of the late seventies
3.2 Neo-avant garde/post-avant garde/postmodern/trans-avant garde
3.3 Postmodernism: the metropolitan landscape
3.4 Theoretical reflection: anthropology and postmodern = intercultural
3.5 Dawning: the artwork reborn
4 The Nineties: ideology, a vice to flee: 1989–99
4.1 Revisionism and conciliation
4.2 Inhabiting transition. The balance of “Pregress”
4.3 Being posthumous
4.4 A televisual pre-theater telling true stories
4.5 Almost an epilogue
5 Liveness – play – frontality: 1999–2013
5.1 Tragedy: the end is a beginning
5.2 Project: producing intermedia
5.3 Dramaturgies of diffuse bodies
5.4 Reality trend and pop
5.5 Narrating by elision and detail
5.6 Play – event – scene
5.7 Engaging the spectator frontally
6 Dramaturgies of the spectacle and the literary text
6.1 Continuous and discontinuous in new theater
6.1.1 The new theater tradition
6.1.2 Cultures of adoption and orphancy
6.1.3 The workshop as a means of production
6.1.4 Scrittura scenica: new means of composing spectacles
6.2 The theatrical vocation of Pier Paolo Pasolini
6.2.1 Experience
6.2.2 Towards an effective theater
6.3 Testori: in the Belly of Theater
6.3.1 The word becomes flesh
6.3.2 Oedipus and Cleopatràs: theater’s latrine
6.4 Franco Scaldati: an enchanted garden where no one dies
6.4.1 Fluid texts without genealogy: eternal becoming
6.4.2 A sensory theater-world
6.4.3 Picture cards, marionettes, shadows, doubles
7 The dramaturgy of space
7.1 Sensory-motor rupture
7.2 Dynamic simultaneous space
7.3 Audio-chromatic space
7.4 Analytic space
7.5 Monitor space
7.6 Landscape and errancy
7.7 Constructing space
7.8 Installation and digital space
8 The plural modes of the actor
8.1 Actor and theme: critical and methodological issues
8.2 Actor as collective body
8.3 Without language or subject: from the monologue to the solo
8.4 Blocking the body and freeing the voice
8.5 Word as event
8.6 Auto-fiction
8.7 Over-representing representation
8.8 Actor-machine-sculpture-animal-cyborg
8.9 Spectral amplitude of the performer
8.10 Sonic body and actant
Index