Il ponte e lo specchio

Starting point of the article’s thesis is the author's personal experience of theatrical practice and contact with other theatrical cultures, especially in Asia and, even more, in Japan. Aim of the text is to analyse the reasons for the mutual fascination between typically Western theatrical fo...

Descripción completa

Guardado en:

Detalles Bibliográficos
Autor principal:	Fabio Mangolini
Formato:	article
Lenguaje:	EN IT
Publicado:	University of Bologna 2021
Materias:	Anthropology GN1-890 Dramatic representation. The theater PN2000-3307
Acceso en línea:	https://doaj.org/article/022fb2ee5ad0459b8758c768693f4998
Etiquetas:	Agregar Etiqueta Sin Etiquetas, Sea el primero en etiquetar este registro!

id	oai:doaj.org-article:022fb2ee5ad0459b8758c768693f4998
record_format	dspace
spelling	oai:doaj.org-article:022fb2ee5ad0459b8758c768693f49982021-11-30T08:46:35ZIl ponte e lo specchio2039-228110.6092/issn.2039-2281/13920https://doaj.org/article/022fb2ee5ad0459b8758c768693f49982021-11-01T00:00:00Zhttps://antropologiaeteatro.unibo.it/article/view/13920https://doaj.org/toc/2039-2281Starting point of the article’s thesis is the author's personal experience of theatrical practice and contact with other theatrical cultures, especially in Asia and, even more, in Japan. Aim of the text is to analyse the reasons for the mutual fascination between typically Western theatrical forms and practices, such as what is generically defined as Commedia dell'Arte and others that, equally generically, are defined as Oriental Theatres. This attraction has origins (even if subconscious) that are not only theatrical but rather cultural, or even better, related to cultural visions. The image of the Commedia dell’Arte - a tradition re-invented in the course of the 20th century and made mythical in the collective imagination by the theatrical avant-gardes in the perspective of a profound renewal of European theatre - corresponds to a vision of a generic Theatre of the East, repository of a sort of imaginary purity that has remained uncontaminated and unchanged over the centuries - the so-called living traditions. These theatrical visions are, in turn, the result of the construction of induced cultural identities, of distorted visions of the Other. They are thus part of a cultural imagology that rests on the sedimentation of ideological constructs ranging from mythopoiesis to exoticism, and even corresponds to an induced vision of identity of Japan and Italy. Finally, by returning the discussion to a purely artistic sphere, the importance of the dynamics leading to the hybridisation of languages is assessed, a fertile ground for the connection and construction of cultural bridges and a heuristic practice, moreover, typical of the Commedia dell'Arte, as it made hybridisation its essence, modulating and regenerating itself in European theatres, and not only, from the 16th century onwards.Fabio MangoliniUniversity of BolognaarticleAnthropologyGN1-890Dramatic representation. The theaterPN2000-3307ENITAntropologia e Teatro, Iss 13, Pp 171-200 (2021)
institution	DOAJ
collection	DOAJ
language	EN IT
topic	Anthropology GN1-890 Dramatic representation. The theater PN2000-3307
spellingShingle	Anthropology GN1-890 Dramatic representation. The theater PN2000-3307 Fabio Mangolini Il ponte e lo specchio
description	Starting point of the article’s thesis is the author's personal experience of theatrical practice and contact with other theatrical cultures, especially in Asia and, even more, in Japan. Aim of the text is to analyse the reasons for the mutual fascination between typically Western theatrical forms and practices, such as what is generically defined as Commedia dell'Arte and others that, equally generically, are defined as Oriental Theatres. This attraction has origins (even if subconscious) that are not only theatrical but rather cultural, or even better, related to cultural visions. The image of the Commedia dell’Arte - a tradition re-invented in the course of the 20th century and made mythical in the collective imagination by the theatrical avant-gardes in the perspective of a profound renewal of European theatre - corresponds to a vision of a generic Theatre of the East, repository of a sort of imaginary purity that has remained uncontaminated and unchanged over the centuries - the so-called living traditions. These theatrical visions are, in turn, the result of the construction of induced cultural identities, of distorted visions of the Other. They are thus part of a cultural imagology that rests on the sedimentation of ideological constructs ranging from mythopoiesis to exoticism, and even corresponds to an induced vision of identity of Japan and Italy. Finally, by returning the discussion to a purely artistic sphere, the importance of the dynamics leading to the hybridisation of languages is assessed, a fertile ground for the connection and construction of cultural bridges and a heuristic practice, moreover, typical of the Commedia dell'Arte, as it made hybridisation its essence, modulating and regenerating itself in European theatres, and not only, from the 16th century onwards.
format	article
author	Fabio Mangolini
author_facet	Fabio Mangolini
author_sort	Fabio Mangolini
title	Il ponte e lo specchio
title_short	Il ponte e lo specchio
title_full	Il ponte e lo specchio
title_fullStr	Il ponte e lo specchio
title_full_unstemmed	Il ponte e lo specchio
title_sort	il ponte e lo specchio
publisher	University of Bologna
publishDate	2021
url	https://doaj.org/article/022fb2ee5ad0459b8758c768693f4998
work_keys_str_mv	AT fabiomangolini ilponteelospecchio
_version_	1718406663237533696

Il ponte e lo specchio

Ejemplares similares