Giorgio Strehler in Rehearsal

1986 ◽  
Vol 30 (4) ◽  
pp. 65
Author(s):  
Richard Trousdell
Keyword(s):  
Giorgio Strehler

Giorgio Strehler

2017 ◽  
Author(s):  
Adriane Maciel Gomes
Keyword(s):  
Giorgio Strehler

Giorgio Strehler: Faust und das 'Europa der Mütter'

Im Auftrieb ◽  
2015 ◽  
Author(s):  
Hans-Peter Bayerdörfer
Keyword(s):  
Giorgio Strehler

Giorgio Strehler's Faust Project: Signification and Reception Strategies

1993 ◽  
Vol 9 (35) ◽  
pp. 211-224
Author(s):  
Christopher Balme
Keyword(s):  
New Zealand ◽  
Work Processes ◽  
Post Colonial ◽  
Alexander Von Humboldt ◽  
Theatre Studies ◽  
Giorgio Strehler ◽  
Theatre Theory ◽  
The University ◽  
The City

In the ten years between 1982, when Giorgio Strehler announced his intention to stage both parts of Goethe's Faust over six evenings, and the eventual two-evening performance amidst a ‘Faust Festival’ in 1992, the Faust project underwent a series of modifications and manifestations, in parallel with the struggle to create the Teatro Grande in Milan as a new house for the Piccolo. The progress and realization of the project are here charted by Christopher Balme, who not only describes the work processes involved, but how these became enmeshed both in the politics of Strehler's relations with the city of Milan, and with his own identification, as actor of Faust as well as director of the project, with the role of the hubristic artist, in quest of a climax to a controversial career. Christopher Balme is a lecturer in theatre studies at the University of Munich's Instituttür Theaterwissenschaft. He has published on modern German theatre, theatre theory, and post-colonial drama and theatre. He has previously held posts at the University of Würzburg, and was Alexander von Humboldt Research Fellow in Theatre Studies at Munich University. He has also been a Visiting Lecturer at the Department of Theatre and Film at Victoria University in New Zealand.

scholarly journals Dancing in War. Perception of Theater in Wartime Sarajevo: Pippo Delbono, Giorgio Strehler and Peter Schumann

2021 ◽  
Vol 6 (3(16)) ◽  
pp. 81-94
Author(s):  
Aida Čopra
Keyword(s):  
Life Experience ◽  
Bertolt Brecht ◽  
Political Engagement ◽  
Spiritual Needs ◽  
Epic Theater ◽  
Giorgio Strehler ◽  
Political Act ◽  
Human Failure ◽  
One Year ◽  
Spiritual Resistance

„When I went to Sarajevo, I met a boy“, Pippo Delbono tells us. They talked, and suddenly the boy told him, „I saw an entire city in anger. I’ve seen people become monsters“. And Delbono replied, „And I’ve seen people look at me like I’m a monster. And all the things that turn into monstrosity“. Traveling, for Delbono, is a life experience that turns into a theatrical one at the same time. In 1998, Delbono created a play called War. The story of the boy he meets during his trip to Sarajevo is an introduction to Delbono’s magical world of theater through which he expresses the need to present a life that is born from suffering, illness, war, but in which we still „dancing“. Danzare nella guerra, „dancing in the war“, for Delbono means to oppose the war to the beauty, joy, and poetics of the movement. In 1995, Strehler directed a play called Mother Courage of Sarajevo based on the text written by Bertolt Brecht. For Strehler, Mother Courage of Sarajevo is not just a play, it is a symbol, a political act that portrays war as a human failure. Strehler based his vision of theater on Brecht’s epic theater. One year before, in 1993, with his puppet troupe, The Bread and Puppet, Peter Schumann came to Sarajevo to provide his support. In the first place, we want to show how Delbono’s conception of theater and experience during his trip to Sarajevo intertwine with the primary goal of Sarajevo theater in those years, as „spiritual resistance“, „spiritual needs“, „call to heal wounded souls“, a „super theater“, as Izudin Bajrović calls him, in which theater and life were the same. Through Strehler’s theater, his relationship with Sarajevo, and the breaking of the „fourth wall“, we will talk about theater as research of those eternal human values, but also returning to humane theater. In the third place, through Schumann’s work, we will show how the external theatrical reality intertwines with the internal one as a feature of strong political engagement.

scholarly journals OS PASSOS CRIATIVOS E ARTÍSTICOS DO DIRETOR GIORGIO STREHLER NA CONSTITUIÇÃO DE SUAS ENCENAÇÕES

Cena ◽  
2015 ◽  
Author(s):  
Camila Paula Camilotti
Keyword(s):  
Giorgio Strehler

Na constituição de montagens teatrais a criatividade do diretor de teatro Giorgio Strehler se expressava sobremaneira. Cada passo criativo e intelectual do diretor no percurso preparatório de suas encenações era permeado por reflexões, estudos e, sobretudo, inspiração. A preparação de seus espetáculos era sinônimo de pesquisa profunda: em primeiro lugar, acerca do texto dramático e suas implicações e, em segundo, acerca da própria encenação e de seus elementos constitutivos.Com base nesses pressupostos, o objetivo deste trabalho reside em observar os passos criativos e artísticos do diretor italiano Giorgio Strehler na constituição de suas montagens teatrais, desde a preparação dos elementos cênicos, até a preparação dos atores na constituição de seus papeis. A conclusão que se obteve com esse estudo foi que a exigência e o envolvimento de Strehler na preparação das montagens teatrais o conduzia, quase sempre, a resultados satisfatórios e, como conseqüência, suas encenações se enquadram em uma esfera artística de alta qualidade estética e cultural.

Giorgio Strehler

2014 ◽  
pp. 105-112
Author(s):  
Ralph Berry
Keyword(s):  
Giorgio Strehler

Giorgio Strehler

2015 ◽  
Author(s):  
Donald McManus
Keyword(s):  
Giorgio Strehler

scholarly journals Décisions politiques, charisme d’institution et scènes artistiques : quelles actions réciproques ?

2016 ◽  
pp. 159-180 ◽  
Author(s):  
Laurent Fleury
Keyword(s):  
New York ◽  
Bertolt Brecht ◽  
Giorgio Strehler

La valeur explicative de l’idée de scènes s’avère féconde si l’on considère que l’existence de scènes artistiques et la concurrence qu’elles se livrent à l’échelle internationale a influencé des décisions politiques de premier plan. L’atteste la décision de nommer Jean Vilar au Théâtre National Populaire en 1951, dans un contexte où la scène européenne du théâtre se structure autour de lieux phares comme le Piccolo Teatro que fonde Giorgio Strehler à Milan en 1948 ou le Berliner Ensemble dont Bertolt Brecht prend la direction en 1949. En témoigne également la décision de créer un Centre d’art et de culture sur le plateau Beaubourg par le président Pompidou au moment où Paris perdait son statut de capitale internationale des arts au profit d’une effervescence créatrice outre-Atlantique (New York) et outre-Rhin (Kassel, Darmstadt, Cologne, Düsseldorf), lesquelles se livraient, dans les années 1970, une concurrence sans merci en matière d’art et de culture.

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