scholarly journals Extravagancias textuales de una suelta de La fingida Arcadia, comedia de tres ingenios

2021 ◽  
pp. 63-86
Author(s):  
Marcella Trambaioli
Keyword(s):  
Original Play ◽  
Multiple Authorship ◽  
Textual Transmission

La fingida Arcadia’s textual transmission, play of multiple authorship, includes a suelta conserved just in Bayerische Staatsbibliothek (S3), that corresponds to a text very far from the rest of the tradition. The suelta maintains unaltered the plot of the original play, even if it modifies all over the dialogues, cuts or lengthens whole fragments, intensifies the courtisan features and, most of all, elaborates especially the burlesque motive of the mondongas. At the same time, the author omits all those elements related to the practice of multiple authorship in order to proclaim, indirectly, to be the author of a different play, announced by the modified title.

Hamlet, The Ballet

2019 ◽  
pp. 428-454
Author(s):  
Jo Butterworth
Keyword(s):  
United Kingdom ◽  
Research And Development ◽  
Creative Process ◽  
Planning Process ◽  
Process Research ◽  
Original Play

Through the themes of literacy and polysemanticism, materiality and signification, this chapter investigates the creative and rehearsal processes of the choreography for David Nixon’s ballet Hamlet (2008) for Northern Ballet, United Kingdom. The chapter investigates the planning process, research and development sessions, choreographic approaches, dramaturgical guidance, and scenographic choices in this work. Questions are raised about the semiotic, aesthetic, and creative approaches of the choreographer and devising team. In Hamlet the ballet, the sociology of the original play and change of location—i.e. dominance of Nazism, ideology, historical conflict—influenced the creative process and the spectator’s reception of the work. But in what other ways can a non-text-based medium communicate the essence of the play?

Critical philology and Dante’s Commedia: A couple of thoughts and a few examples

2021 ◽  
pp. 001458582110225
Author(s):  
Paolo Trovato
Keyword(s):  
Textual Criticism ◽  
Torquato Tasso ◽  
Critical Thought ◽  
Textual Editing ◽  
Textual Transmission ◽  
Pietro Aretino

Not only literary students, but also well-known scholars share the idea that the reconstruction of a text is a routine job which leaves little room for creativity. After some 40 years during which I have edited or prepared the edition of works of Machiavelli ( Discorso intorno alla nostra lingua), Pietro Aretino ( Cortegiana) and Torquato Tasso ( Aminta), and 17 years devoted to the textual transmission and the text of Dante’s  Commedia, I think that, except for the first phases of the job, textual editing requires almost constant critical thought and interpretation. I shall present a little series of examples, mostly from Dante’s Commedia, with cases ranging from decisions in the realm of accidentals to rather complicated choices among competing substantial readings and to the risky enterprise of emendation against all the witnesses of the work. While these examples can give an idea of the novelty of some solutions of my forthcoming edition (the introduction and  Inferno will appear in the summer of 2021), in my view, they seem to confirm the opinion of the great classical philologist Giorgio Pasquali, for whom textual criticism isn’t mechanical; it is methodical.

FROM TESTIMONY TO HETEROGLOSSIA: THE VOICE(S) OF LAMENT IN WE ARE THE PERSIANS!

2021 ◽  
Vol 1 (46) ◽  
pp. 151-182
Author(s):  
Marios Chatziprokopiou ◽  
Keyword(s):  
Asylum Seekers ◽  
Real Life ◽  
Main Body ◽  
Original Play ◽  
Documentary Theatre ◽  
History Of ◽  
Audiovisual Archives ◽  
Displaced People ◽  
The Voice ◽  
Ancient Drama

We are the Persians! was a contemporary adaptation of Aeschy-lus’s The Persians presented in June 2015 at the Athens and Epidaurus Festival. Performed by displaced people from Afghanistan, Pakistan and Bangladesh, and directed by Yolanda Markopoulou, the piece grew out of the Station Athens group’s five-year theatre workshops. Extracts from the original play were intertwined with performative material brought to the project by the participants: from real-life testimonies to vocal improvisations, poems, and songs in different languages. High-lighting the historical thematic of the play, this adaptation was presented as a documentary theatre piece, and the participants as ‘modern-day heralds’ who provided on stage ‘shocking accounts’ concerning ‘contem-porary wars’ (programme notes, 2015). After briefly revisiting the main body of literature on the voice of lament in ancient drama and in Aeschylus’s The Persians in particular, but also after discussing the recent stage history of the play in Greece, I conduct a close reading of this adaptation. Based on semi-directed interviews and audiovisual archives from both the rehearsals and the final show,I argue that the participants’ performance cannot be limited to their auto-biographical testimonies, which identify their status as refugees and/or asylum seekers. By intertwining Aeschylus with their own voices and languages, they reappropriate and reinvent the voice(s) of lament in ancient drama. In this sense, I suggest that We are the Persians! can be read as a hybrid performance of heteroglossia, which disrupts and potentially transforms dominant ways of receiving ancient drama on the modern Greek stage.

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