Italian Minor Theatre, 2000–14: the Development of ‘Short Forms’ and the Politics of the Stage

2019 ◽  
Vol 35 (03) ◽  
pp. 195-208
Author(s):  
Silvia Mei
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
Modern Dance ◽  
Minor Literature ◽  
Philosophical Concept ◽  
Short Forms ◽  
Research Fellow ◽  
History Of ◽  
Expressive Dimension ◽  
The University

Brevity in experimental Italian theatre is not merely an expressive dimension of scenic creation, but a forma mentis, a conceptual vocation of young companies. The 2000s produced a minor theatre in Italy – first because of the reduced stage size, and second because of the brevity of works such as installation pieces. Moving from the linguistic disintegration of the historical avant-gardes of the twentieth century, this theatre is especially inspired by the visual arts, even though its historical roots remain fragmented and art is still seen in the synthetic language of modern dance and Futurist variety. Short forms actually become a tool for crossing artistic genres and languages. Starting from Deleuze’s and Guattari’s philosophical concept of minor literature, in this article Silvia Mei explores and analyzes work by such Italian contemporary companies as gruppo nanou, Città di Ebla, Anagoor, Opera, ErosAntEros, and Teatro Sotterraneo – all representative of what can be called installation theatre, a new theatrical wave that crosses the boundaries and specificities of artistic language, leading to the deterritorialization of theatre itself, a rethinking of the artistic work as well as its relationship with the audience. Silvia Mei is Adjunct Professor of the History of Theatre Directing and Theatre Iconography at the University of Bologna, having been a Research Fellow at the University of Turin. Her recent publications include ‘La terza avanguardia: ortografie dell’ultima scena italiana’, in Culture Teatrali, No. 14 (2015), and Displace Altofest (Valletta: Malta 2018 Foundation).

scholarly journals Taking the International Spotlight: Pauline Hanson and Pauline Hanson's One Nation Party

2005 ◽  
Vol 12 (2) ◽  
pp. 73-80
Author(s):  
Kay Saunders
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
Right Wing ◽  
World War ◽  
Scholarly Research ◽  
Left Behind ◽  
History Of ◽  
Right Wing Populism ◽  
The University ◽  
Public Lecture

In 2001 I was invited to give a public lecture at the Centre for the Study of the History of the Twentieth Century, a scholarly research institute within the University of Paris. The invitation was extended by Professor Stephane Dufoix, who writes on the internment of enemy aliens in World War II, one of my academic specialisations. However, I was not asked to speak about this area of expertise. Indeed, it turned out to be a ‘Don't mention the war’ event. Rather, Professor Dufoix and his colleagues were fascinated by Pauline Hanson and were interested in an Australian perspective on the rise of extreme right-wing populism and the Down Under equivalent of the French les laissés-pour-compte (‘those left behind’) or les paumés (‘the losers’).

Short Reviews

2016 ◽  
Vol 38 (2) ◽  
pp. 129-130
Author(s):  
Susan Teneriello
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
English Language ◽  
Modern Dance ◽  
Symbolic System ◽  
Dance Studies ◽  
Avant Garde ◽  
Body Imagery ◽  
Interdisciplinary Approaches ◽  
Critical Dance Studies

Gabriele Brandstetter's Poetics of Dance has remained unavailable to English-language readers until now. Widely considered a landmark book of dance scholarship when it first appeared in Germany in 1995, this provocative analysis of the early twentieth-century avant-garde in Europe is sure to continue to influence a new audience. The book's initial publication advanced the application of critical theory and interdisciplinary approaches to dance that now constitute the field of critical dance studies. Caringly translated by Elena Polzer with Oxford Studies in Dance Theory series editor Mark Franko, this work remains a unique analysis of modernity that illuminates dance as an “act of transmission,” a bridge through theatre, literature, and visual arts altering relationships to how movement is reproduced and how space is conceptualized. Brandstetter's central premise expands through reading body imagery as a historically specific context from which the iconography of pictorial patterns open up perceptual concepts. The interdependency between new models and vocabularies of modern dance and literature appearing at the turn-of-the-twentieth century brace the argument that avant-garde aesthetic debates and concerns moved through body imagery and figurations in space. The poetics of free dance (and later forms of Expressionist dance appearing in Germany) as it took shape in Europe foregrounds the dancer's movement as a transformative language and symbolic system of cultural deconstruction and renewal.

PER UN ARCHIVIO DELLA CORRISPONDENZA DEGLI SCIENZIATI ITALIANI

Nuncius ◽  
2000 ◽  
Vol 15 (2) ◽  
pp. 681-719
Author(s):  
LUCIANO CARBONE ◽  
FRANCO PALLADINO ◽  
ROMANO GATTO
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Historical Development ◽  
History Of Mathematics ◽  
Mathematical Research ◽  
Conic Sections ◽  
Kingdom Of Naples ◽  
History Of ◽  
Mathematical Sciences ◽  
The University

Abstracttitle SUMMARY /title Federico Amodeo (1859-1946) was a mathematician and a historian of the mathematical sciences. As a mathematician he was "libero docente" at the University of Naples. His interests extended from projective to algebric geometry and his mathematical research was carried out for the most part from the mid-1880s until the end of the nineteenth century. As a historian he was active from the first years of the twentieth century until his death. In this capacity he was interested in mathematics, mathematicians and institutions in the Kingdom of Naples (later the Kingdom of the Two Sicilies, from 1815), and also in the historical development of analytical and projective geometry and the history of conic sections. He held the chair in History of Mathematics in the University of Naples from 1905 until 1910, the year in which the chair was suppressed. Nonetheless he continued to teach this subject as a "libero docente" until 1923. Here we present the list of more than 1.300 writings, constituting his Correspondence, amongst which the letters of Castelnuovo, Pascal, Peano, Segre and Achille Sannia are of particular significance. We also present the complete list of his publications, reconstructed thanks to the consultation of incomplete printed bibliographies and a manuscript list.

scholarly journals A Blackboard in Her Kitchen: Women and Physics at the University of Toronto

2009 ◽  
Vol 29 (2) ◽  
pp. 17-44
Author(s):  
Alison Prentice
Keyword(s):  
Twentieth Century ◽  
Graduate Program ◽  
Doctoral Degrees ◽  
Middle Years ◽  
University Of Toronto ◽  
History Of ◽  
History Of The University ◽  
Widespread Belief ◽  
Physics Department ◽  
The University

Abstract Despite a widespread belief that they were a tiny minority in twentieth-century physics, women have been far more present in the field than we imagine. In this essay I explore three periods in the history of the University of Toronto physics department between 1890 and 1990. In the first expansionist period (1890-1933) women were much in evidence, earning nearly 20 percent of the university's doctoral degrees in physics; during the middle years of the century (1934-1961), some of these women taught in the physics department, but participation in the graduate program declined, with no women completing doctorates; between 1962 and 1990, when physics was again expanding rapidly, women gained some ground but still earned less than five percent of the doctorates. The essay explores the histories of nine of the women who earned PhDs in physics at Toronto during this third period, with a view to discovering the factors that helped or hindered their success in the field.

Sign in / Sign up

Export Citation Format

Share Document