Il teatro romano di Verona, Verona 2016

Journal of Roman Archaeology, 2008

In /RA 20 (2007), F. Yegril entitled his review of O. Bingol's book "When a theatron is not a theater",l concluding by the third paragraph (578) that "small theater" should perhaps be preferred to "theatron". The problem is even greater for Gortyn whose five theatres have been conflated and misidentified for centuries, but G. Montali's work has lain the confusion to rest. The book is a detailed elaboration of the author's preliminary results as presented in 2000 at a congress on Roman and Early Byzantine Crete.2The cily plan reproduced here (fig. 1) shows: (1) Montali's teatrl rlmano, which on A. Di Vita's earlier plans for the Scuola Archeologica Italiana di Atene is appropriately named the grande teatro romano; it lies southeast of the stadium and north of the circus; (2) a Greek theatre (teatro dell'acropoli) on the approach to the acropolis (upper left quadrant) that shows extensive Roman repairs and elaborations; (3) a much smaller theatre off to the side of the Roman forum, next to the Temple to Pythian Apollo (centre of the plan) and hence called teatro del Pythion, even though it is oriented neither with that temple nor with the Roman forum;3 (4) the Odeion of 'Trajan' (to the right of the acropolis theatre) in the Greek agora, home to the famous law code transferred from the Temple to Pythian Apollo during the reign of Trajan, which hence bears his name even though it was built no later than the reign of Claudius.a (5) The amphitheatre at Ayia Deka on the E edge of Gortyn should be mentioned here since material from the grande teatro romano was sometimes erroneously assigned to it. From 1998 to 2000, Montali, architect for the Italian school at Athens, studied and drew the structure, while M. Rossi undertook stratigraphical sondages. Primary among the objectives was to determine the structure's design and function and to resolve which early travellers' reports described this structure as opposed to one of the others listed above. As recently as 1911, E. Stephani produced a sketch of this structure as an amphitheatre, although A. Maiuri expressed reservations.sRecently I speculated that the structure was perhaps a double-theatre with back-to-back stages.6

Teatro di tradizione Dante Alighieri, 2018

In the present book is shown a minute analysis of the principal Theatre in the city of Ravenna, Italy, dedicated to Dante Alighieri, who died in Ravenna in september 1321. The Theatre was erected between 1840 and 1852 on a design by Venetian Meduna Brothers, Tommaso and Giambattista. The Medunas chose to build the auditorium in the "Italian" neoclassical style: a hollow horseshoeshaped to serve as a soundbox, with four tiers of boxes and a wide proscenium arch. The stalls section seats approximately 360 people; seats are arranged in 4 sectors divide by a central aisle.The Theatre ha s a famous Ridotto, that on february 10 th 2004 was renamed in memory of Arcangelo Corelli, with a public ceremony attended by Maestro Riccardo Muti.

Antichita, Teatro, Magnificenza: Renaissance and Baroque Images of Rome, 2013

This speech is to present the history of the first institutional and repertoire theater in Italy against the background of developments that have taken place in the italian culture after the IInd World War. Piccolo Theatro di Milano, which become established in 1947 is a great example to show how this cultural changes were influent for thinking about an artist’s need of looking for the new ways to express themselves and toughing the most important social problems in these times. It will be attempt to discuss figures of two of the most important persons for this innovational project - italian director Giorgio Strehler and italian “il dottore di teatro”, impresario Paolo Grassi. Also I would like to discuss their ideas for the new theater as for example concepts of the first national, communal and popular theatre and oppositions of a new repertoire for this institution in opposite to Carlo Goldoni’s ideas of theater. Important in this context turns out the theory of „theater du peuple” proposed in 1903 by french writer Romain Rolland, which they have developed. Phenomena of this Piccolo Teatro is a great opportunity to discuss about the role of theater in XX century and today.

2005

The Maniscalchi Erizzo Museum in Verona (Veneto, IT) hosts an interesting collection of Roman, Venetic and Rhaetic antiquities among which a copy of the so called “Spada di Verona” i.e. Sword of Verona. The inscription is redacted in the alphabet, closely resembling the Venetic, in which the Magrè inscriptions are written. The use of the Magrè alphabet would indicate a Rhaetic origin of the inscription.The inscription appears to be written from right to left in continuo and no indication is provided in it for indicating a possible separations between the words. A possible method of separating the words is to directly recognize in the inscription similar or corresponding Slavic language elements like name and verbs. However, in applying this method two alternative word separations and consequently two alternative interpretations of the inscription emerged. Alternative A (by G. Tomezzoli): faniniufikuremieshiiitifasuvakhikvelisunes → fanin i ufik u remieshi i itifas u vakh ik velis u ...

The Grand Theater of the World, 2019

The spectacle offered by the water theater ("teatro delle acque") built by the Princes Aldobrandini in their residence in Frascati was, in the traveler's memoirs in the seventeenth century, described as something extraordinary, unique in its magnificence when compared to the marvels of other noble residences in Europe during the Baroque period. Even today, preserved in its entirety, the "teatro delle acque" in Villa Aldobrandini-also known as the "Belvedere" with the extraordinary view over Rome it offers-was conceived as a Nymphaeum, a space dedicated to spectacles and water games which embellished Cardinal Pietro Aldobrandini's (1571-1621), Clemente VIII's (1536-1605) nephew's, country residence making it a holiday residence full of "delights." 1 The open air theater avails of a closed room, called the "Parnaso," for reserved moments and private concerts held by the family. The musical metatheater created by the Villa's Nymphaeum and the Parnaso room was filled with performances that took advantage of the theatricality of the spaces for important occasions or events in the Aldobrandini family's time, as for example Leopoldo de' Medici's visit in 1683, duly celebrated, as we shall see later, with the recital of La Circe by Alessandro Stradella. Pietro's entourage-in his travels during his ecclesiastical career-included the most refined musicians of the time (to cite just a few, the Piccinini brothers, lute virtuosi, Girolamo Frescobaldi and Francesco Rasi, the first Monteverdi's "Orfeo"). 2 His patronage, in comparison to that of other powerful cardinals of the time-Cardinal Montalto (Alessandro Peretti, 1571-1623)was studied in depth by Claudio Annibaldi, who took into consideration in particular Pietro's experiences in Ferrara and the aesthetic meaning behind his patronage in the Frascati residence. 3 The contribution made to the performing arts by the figure of Olimpia Aldobrandini the Younger (1623-1681), daughter of Giorgio Aldobrandini (1591-1637) and Ippolita Ludovisi (†1674), has been studied to a lesser extent. Olimpia married Paolo Borghese (1624-1646) in 1638 and, after his death, in 1647 married Camillo Pamphili (1622-1666). Being the only heir, she inherited and managed all the family's possessions. The Aldobrandini family history in relation to the Villa Belvedere property is quite complex due to the political marriages and the tortuous

This article was commissioned by the UTE (Union des Théatres de l'Europe) in the frame of the three-year project Conflict Zones and has been published on the website http://conflict-zones.reviews/. The attached file contains the introduction, the index an excerpt of the first chapter. The complete article can be read on the free website http://conflict-zones.reviews/. This work aims at drawing an overview of the contemporary performing arts system in Italy. A short note is necessary to introduce the reader to the functioning of the section – which tries to exploit the web potentiality at its best – but, most of all, to explain how and why a hyper-textual structure is more than ever cut out for the Italian present environment. Even though the nature of this issue (to which an agile and highly readable language is requested) cannot confide in creating a thorough and executive summary of the whole spectrum, the author's point of view is that a dynamic and compound collection of small focuses has the chance to mirror the Italian system more faithfully than a single long essay. Such belief stems from an eight-year journalistic/critical experience that revealed the Italian stage arts landscape as a very fragmented organism in which the territorial diversity, mostly characterized by sensible economical differences, creates a plurality of production/circulation opportunities that goes hand in hand with the local environment. As can be seen in the map of the section, one focus is sometimes generated by another and the focus itself originates a further one in a complex net of relations and interdependence, a lively system that is currently facing an evident shift and, yes, shows a fundamental ability to preserve its creative attitude. Cultural Policy and Theatre Practice, for example, are tightly connected; one necessarily determines the other, and the latter gives birth to peculiar Aesthetics, with related trends and a specific appeal on the audience, which in fact can influence (or at least interacts with) the Cultural Policy. A final point must be brought up. The situation described in the present section was written in February and March 2015. In those months the whole state support system was undergoing a deep change (a short account is offered in the Theatres Structure paragraph) which still needs to be tested and processed by the system actors. In other words, at the present time the global organization of public money for the Italian performing arts scene is reshaping in a new order which is going to affect the balance between the public and private structure in the most unpredictable way. This is why we chose to add an "S" at the end of the word "Theatre".

Midwest Modern Language Association, Chicago, Illinois, 5 November 2010.

Session A 1. Teatralizzazione di un romanzo: i costumi di scena degli Indifferenti di Moravia Chiara De Santi, SUNY Fredonia 2. Pasolini e lo strappo nella coscienza dello spettatore Fulvio Orsitto, California State Univerisity-Chico 3. Lina Wertmüller regista-burattinaia Federico Pacchioni, University of Connecticut-Storrs Session B 4. Manzoni’s Count of Carmagnola and Kleist’s Prince of Homburg: History between Fiction and Factuality Maria Giulia Carone, University of Wisconsin-Madison 5. Teatro e teatralità nella poesia del primo Palazzeschi Daniele Fioretti, University of Wisconsin Madison 6. Mario Luzi’s Plays: A Plurality of Voices Ernesto Livorni, University of Wisconsin-Madison Session C 7. Distinctive Nature of Masques of Commedia dell’Arte in their Relationship with Food in 18th Century Paola Monte, Royal Holloway, University of London 8. Arlecchino is Lying: Deconstructing Goldoni’s II bugiardo Stefano Boselli, Gettysburg College 9. The Spectator in Dario Fo’s Performances: From the Foyer to the Post-Performance Debates Marco Valleriani, Royal Holloway, University of London

https://www.teatrosancassiano.it/en/teatro-san-cassiano, 2020