Armando Rotondi
Armando Rotondi is an academic, journalist, writer, and theatre practitioner from Italy, Associate Professor in Performance Theory and Story-Telling and Leader of the MA Acting at the IAB - Institute of the Arts Barcelona (validated by Liverpool John Moores University).
After a BA at the University of Naples “Federico II” and an MA at the University of Rome “La Sapienza”, he achieved his PhD at the University of Strathclyde in 2012 and 3 University professorship habilitations: in 2018 the University Professorship Habilitation ("II Fascia") in "Perfoming Arts:Theatre, Film, Music and Audiovisual"; in 2020 the University Professorship Habilitation ("II Fascia") in "Comparative Literature"; in the same year, in 2018 the University Full Professorship Habilitation ("Professore ordinario di I Fascia") in "Perfoming Arts:Theatre, Film, Music and Audiovisual".
Before IAB, he worked as a Lecturer at universities in UK (Strathclyde), Italy (Naples “Federico II”, Naples “L’Orientale”, Verona), Poland (Torun), Romania (ICR and Bucharest).
With an interest in the fields of Theatre and Performing Arts, Comparative Drama and Literature, Translation, Film, and Cultural Studies, Armando is author of several academic publications including 10 books, almost 40 book chapters and articles; more than 40 papers at international conferences (UK, USA, Italy, Germany, Ireland, Poland, Turkey, Romania, India, Czech Republic, Portugal, France).
He is a founding member of INIT – International Network of Italian Theatre, a member of the European Association for the Study of Theatre and Performance, and Director of “Mise en Abyme. International Journal of Comparative Literature and the Arts”. He is also editor for “Theatre and Adaptation” at “The Theatre Times” (New York). Recently he has been co-convenor of the section dedicated to Shermin Langhoff and Gorky Theatre (Berlin) for the European Journal of Theatre and Performance and Project Manager for the IAB, with Valentina Temussi, of the Creative Europe "Make a Move" project on art incubators for independent and non-institutionalised theatre in Europe.
As a practitioner, Armando is a dramaturg, a published narrative writer and a staged/published playwright. His theatre credits include, e.g., “L’Accusa” published in 2020. He worked for prominent artists such as Andy Arnold, Esteve Soler, Andrew McKinnon, Jasmin Vardimon, Martin Lewton, Marc Chornet, Giovanni Meola, Grigore Gonta, Guy Bar-Amotz. He trained with artist such as Alejandro Jodorowski, Fernando "Pino" Solanas, Daniel Wetzel (Rimini Protokoll) and Michael Vogel (Familie Floez).
After a BA at the University of Naples “Federico II” and an MA at the University of Rome “La Sapienza”, he achieved his PhD at the University of Strathclyde in 2012 and 3 University professorship habilitations: in 2018 the University Professorship Habilitation ("II Fascia") in "Perfoming Arts:Theatre, Film, Music and Audiovisual"; in 2020 the University Professorship Habilitation ("II Fascia") in "Comparative Literature"; in the same year, in 2018 the University Full Professorship Habilitation ("Professore ordinario di I Fascia") in "Perfoming Arts:Theatre, Film, Music and Audiovisual".
Before IAB, he worked as a Lecturer at universities in UK (Strathclyde), Italy (Naples “Federico II”, Naples “L’Orientale”, Verona), Poland (Torun), Romania (ICR and Bucharest).
With an interest in the fields of Theatre and Performing Arts, Comparative Drama and Literature, Translation, Film, and Cultural Studies, Armando is author of several academic publications including 10 books, almost 40 book chapters and articles; more than 40 papers at international conferences (UK, USA, Italy, Germany, Ireland, Poland, Turkey, Romania, India, Czech Republic, Portugal, France).
He is a founding member of INIT – International Network of Italian Theatre, a member of the European Association for the Study of Theatre and Performance, and Director of “Mise en Abyme. International Journal of Comparative Literature and the Arts”. He is also editor for “Theatre and Adaptation” at “The Theatre Times” (New York). Recently he has been co-convenor of the section dedicated to Shermin Langhoff and Gorky Theatre (Berlin) for the European Journal of Theatre and Performance and Project Manager for the IAB, with Valentina Temussi, of the Creative Europe "Make a Move" project on art incubators for independent and non-institutionalised theatre in Europe.
As a practitioner, Armando is a dramaturg, a published narrative writer and a staged/published playwright. His theatre credits include, e.g., “L’Accusa” published in 2020. He worked for prominent artists such as Andy Arnold, Esteve Soler, Andrew McKinnon, Jasmin Vardimon, Martin Lewton, Marc Chornet, Giovanni Meola, Grigore Gonta, Guy Bar-Amotz. He trained with artist such as Alejandro Jodorowski, Fernando "Pino" Solanas, Daniel Wetzel (Rimini Protokoll) and Michael Vogel (Familie Floez).
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Books by Armando Rotondi
ECOSYSTEMS OF THEATRE AND PERFORMANCE
(28 October – 2 November 2024)
Abstract submission deadline: 28 February 2024 (at 23.59)
We are delighted to announce the EASTAP Annual Conference 2024, hosted by the Institute of the Arts Barcelona (Sitges, Spain), under the theme “Ecosystems of Theatre and Performance”. As host city, Sitges has been a biosphere destination since 2016, and is committed to environmental, economic, and social sustainability.
The conference aims to bring together international scholars, practitioners, and researchers, inviting submissions for papers and presentations that delve into various aspects of this theme and offer fresh insights into the dynamic field of theatre and performance.
We aim to make productive the terminological shift of the concept of ‘ecology’ to ‘ecosystems’ within the realm of theatre and performance. “Ecosystems of Theatre and Performance” invites proposals that explore the scientific-environmental, figurative, and economical dimensions of these dynamic artistic systems.
The special issue of “Mise en Abyme” dedicated to the Make a Move project represents a complementary academic outcome to "Make a Move – An Art Incubator for Contemporary European Non-Institutionalised and Independent Theatre” (project co-funded by Creative Europe), with critical essays on excellence parameters and business model, case studies and specific focus, including a mapping section on festivals, markets, companies, training centres, and funding organization. The issue include contributions by Armando Rotondi, Valentina Temussi, Daria Lavrennikov, Eugen Păsăreanu, Raluca Blaga, Traian Penciuc, Freya Treutmann, Lyudmyla Honcharova.
The initiator and leader of the project is an arts organisation – Creative Laboratory of Contemporary Theatre KRILA from Rijeka, directed by Ivana Peranić. The main partners of the project are the Galway Theatre Festival (Ireland), the Institute of Arts Barcelona (Spain), the University of Arts Târgu-Mureș (Romania). The associate partners are ACTS (Oslo, Norway), MOVEO (Barcelona, Spain), Platform 88 (Montpellier, France), Poulpe Èlectrique (Arcueil, France), ToTum TeaTre (Barcelona, Spain) and Workinglifebalance Ltd. (Graz, Austria). The project has been co-funded by the Creative Europe Programme of the European Union, RIJEKA 2020 LLC, Ministry of Culture of the Republic of Croatia, Kultura nova Foundation, City of Rijeka, Primorje-Gorski kotar County, Austrian Cultural Forum Zagreb, the European Capital of Culture Galway 2020, the Galway City Council, the Arts Council of Ireland, the Ajuntament de Sitges and the French Institute Barcelona. The Make a Move project has been developed under the European Capital of Culture programme – Rijeka 2020: Port of Diversity, project “Unreal Cities”.
Ai quattro capitoli dedicati all’analisi della messa in scena e delle scelte attuate dal regista, seguono appendici fra cui la trascrizione dell’incontro-intervista con Grigore Gonţa.
Il manuale è diviso in cinque parti e segue passo passo l’autore dall’allestimento del manoscritto alla realizzazione di un progetto di edizione e alla promozione del libro, passando per l’analisi di un contratto editoriale, fino alle fasi salienti dell’iter di stampa. Chi dice che non esistono case editrici non a pagamento sbaglia: esistono ma è necessario saperle riconoscere e, soprattutto, sapersi interfacciare.
Papers and Articles by Armando Rotondi
adattamenti teatrali, effettuato in anni recenti da Jasmin Vardimon e dalla sua compagnia di teatrodanza. A differenza di altre trasposizioni, come quella di Joël Pommerat che cancella il ruolo del Grillo modificandolo in semplice narratore, Vardimon riprende i discorsi del personaggio e lo ricrea attraverso un preciso gioco di ‘embodiment’.
Abstract: Within the framework of the collective imagination, the Talking Cricket of The Adventures of Pinocchio has certainly a prominent role. The iconic nature of the character has gone beyond the role that Collodi had actually assigned to him in his work. This happened also thanks to
the Disney transposition of the Collodian text, which has inexorably contributed to the international re-diffusion of Pinocchio and has concurrently undermined its original meaning. This contribution aims at exploring the role of Collodi’s Talking Cricket in one of its best theatrical adaptations, made in recent years by Jasmin Vardimon and his dance-theatre company. Unlike other transpositions, such as the one written and directed by Joël Pommerat, that cancels the role of Grillo by modifying it in a simple narrator, Vardimon adapts the character’s discourses and recreates it through a precise game of ‘embodiment’.
Harold Bloom, pur opponendosi ufficialmente alla politicizzazione della letteratura data da quelle che lui definisce "Scuole del risentimento", promuove una idea di canone letterario e culturale occidentale che ha implicitamente un valore politico, teso a dimostrare la supremazia anglofona, prima britannica e quindi americana. Si tratta di un Canon ruota intorno all'idea della centralità di William Shakespeare come perno della letteratura e della cultura. Pur partendo da Shakespeare, il dibattito su di un canone prettamente teatrale-letterario è sottostimato rispetto al dibattito del canone in genere. Ciò è dovuto alla difficoltà implicita della materia vista nello stesso tempo come letteratura e arte performativa, con quindi la coesistenza di elementi prettamente letterari-linguistici ed altri che guardano all'aspetto della messa in scena e della fortuna dei testi sotto questo punto di vista. Il contributo si sofferma quindi), soffermandosi sul caso italiano. Si prenderà in considerazione prima Luigi Pirandello come centro di un canone teatrale italiano nella prima metà del '900, anche a discapito di autori, come Roberto Bracco, che all'epoca sembravano avere maggiore risonanza nazionale e internazionale; quindi Eduardo De Filippo, notando come il centro del canone teatrale italiano va a corrispondere, nella figura di Eduardo, con quello del canone regionale. speaking countries? Per la definizione di un canone teatrale-letterario italiano contemporaneo (con particolare risalto a Luigi Pirandello ed Eduardo De Filippo) Provided by Diacronia.ro for IP 185.
Monaciello di Andy Arnold e Megan Barker è un esempio di site-specific
theatre che combina insieme diverse tradizioni performative – Italia e Scozia nello specifico – con un approccio interdisciplinare che guarda anche alla storia e alla letteratura. Pensato appositamente per i sottosuoli di Napoli e con un cast in prevalenza scozzese, che recita quasi integralmente in napoletano, Monaciello inscena il tema del ‘sottosuolo’ attraverso una prospettiva storica (la guerra), intima (la vita nell’oscurità dei protagonisti) e letteraria.
Abstract:
Monaciello by Andy Arnold and Megan Barker is an interesting case study about the relations between different theatre traditions and site-specific performance in a comparative point of view. Especially conceived for the underground of Naples for a predominantly Scottish cast, which performs in Neapolitan dialect, Monaciello focuses on the theme of ‘underground’ through a perspective that is at the same time historical (war), intimate (the life of the protagonists in darkness) and literary.
century among European countries, of a particular interest are the contacts
between Romania and Italy, specifically between the Italian tradition of the
“Grande Attore” and the Romanian one.
Romanian “Grande Attore”, and generally the East-European one, is still
an under-considered territory within theatre studies. However, an analysis
of the tours of Italian interpreters in Romania, mainly in Bucharest, and of
their influence on their Romanian counterparts is essential in
reconstructing a geography of acting in Europe.
In the Romanian case, the debate on the actor it is not simply related to
theatre, but it involves the rising national identity of the Romanian State,
from the Principalities (Wallachia and Moldavia) to the first unification.
Theatre and acting are just two elements in a debate that includes also the
passage from the Cyrillic alphabet to the Latin one. In this context, the
influence of the Italian “Grande Attore” should be considered together
with the influence of (Neo-)Greek and French Culture.
The essay will consider specifically: the sources for the study of the
Romanian “Grande Attore”; the origin of the theatre of dramaturgy in
Romania with its Greek references; the presences of the Italian “Grande
Attore” in Romania (e.g. Rossi, Novelli, Zacconi); the generations of the
Romanian “Grande Attore”, considering key figures, such as Costache
Caragiale, Matei Millo, Mihail Pascaly, Constantin Nottara, Aristizza
Romanescu and Grigore Manulescu, establishing the level of influence of
the Italian tradition, compared, i.e., to the French one.
legend of the so-called "Skull of the Captain" located at the Fontanelle Cemetery, then at the Neapolitan adaptations of the Spanish play Don Juan.
attributed to Tirso de Molina, El Burlador de Sevilla y
Convidado de Piedra (The Trickster of Seville and the Stone
Guest) is preserved in a version published in 1630. I
emphasize the influence that the theatrical versions
have had in creating Neapolitan legend in the
cemetery and vice versa.
ECOSYSTEMS OF THEATRE AND PERFORMANCE
(28 October – 2 November 2024)
Abstract submission deadline: 28 February 2024 (at 23.59)
We are delighted to announce the EASTAP Annual Conference 2024, hosted by the Institute of the Arts Barcelona (Sitges, Spain), under the theme “Ecosystems of Theatre and Performance”. As host city, Sitges has been a biosphere destination since 2016, and is committed to environmental, economic, and social sustainability.
The conference aims to bring together international scholars, practitioners, and researchers, inviting submissions for papers and presentations that delve into various aspects of this theme and offer fresh insights into the dynamic field of theatre and performance.
We aim to make productive the terminological shift of the concept of ‘ecology’ to ‘ecosystems’ within the realm of theatre and performance. “Ecosystems of Theatre and Performance” invites proposals that explore the scientific-environmental, figurative, and economical dimensions of these dynamic artistic systems.
The special issue of “Mise en Abyme” dedicated to the Make a Move project represents a complementary academic outcome to "Make a Move – An Art Incubator for Contemporary European Non-Institutionalised and Independent Theatre” (project co-funded by Creative Europe), with critical essays on excellence parameters and business model, case studies and specific focus, including a mapping section on festivals, markets, companies, training centres, and funding organization. The issue include contributions by Armando Rotondi, Valentina Temussi, Daria Lavrennikov, Eugen Păsăreanu, Raluca Blaga, Traian Penciuc, Freya Treutmann, Lyudmyla Honcharova.
The initiator and leader of the project is an arts organisation – Creative Laboratory of Contemporary Theatre KRILA from Rijeka, directed by Ivana Peranić. The main partners of the project are the Galway Theatre Festival (Ireland), the Institute of Arts Barcelona (Spain), the University of Arts Târgu-Mureș (Romania). The associate partners are ACTS (Oslo, Norway), MOVEO (Barcelona, Spain), Platform 88 (Montpellier, France), Poulpe Èlectrique (Arcueil, France), ToTum TeaTre (Barcelona, Spain) and Workinglifebalance Ltd. (Graz, Austria). The project has been co-funded by the Creative Europe Programme of the European Union, RIJEKA 2020 LLC, Ministry of Culture of the Republic of Croatia, Kultura nova Foundation, City of Rijeka, Primorje-Gorski kotar County, Austrian Cultural Forum Zagreb, the European Capital of Culture Galway 2020, the Galway City Council, the Arts Council of Ireland, the Ajuntament de Sitges and the French Institute Barcelona. The Make a Move project has been developed under the European Capital of Culture programme – Rijeka 2020: Port of Diversity, project “Unreal Cities”.
Ai quattro capitoli dedicati all’analisi della messa in scena e delle scelte attuate dal regista, seguono appendici fra cui la trascrizione dell’incontro-intervista con Grigore Gonţa.
Il manuale è diviso in cinque parti e segue passo passo l’autore dall’allestimento del manoscritto alla realizzazione di un progetto di edizione e alla promozione del libro, passando per l’analisi di un contratto editoriale, fino alle fasi salienti dell’iter di stampa. Chi dice che non esistono case editrici non a pagamento sbaglia: esistono ma è necessario saperle riconoscere e, soprattutto, sapersi interfacciare.
adattamenti teatrali, effettuato in anni recenti da Jasmin Vardimon e dalla sua compagnia di teatrodanza. A differenza di altre trasposizioni, come quella di Joël Pommerat che cancella il ruolo del Grillo modificandolo in semplice narratore, Vardimon riprende i discorsi del personaggio e lo ricrea attraverso un preciso gioco di ‘embodiment’.
Abstract: Within the framework of the collective imagination, the Talking Cricket of The Adventures of Pinocchio has certainly a prominent role. The iconic nature of the character has gone beyond the role that Collodi had actually assigned to him in his work. This happened also thanks to
the Disney transposition of the Collodian text, which has inexorably contributed to the international re-diffusion of Pinocchio and has concurrently undermined its original meaning. This contribution aims at exploring the role of Collodi’s Talking Cricket in one of its best theatrical adaptations, made in recent years by Jasmin Vardimon and his dance-theatre company. Unlike other transpositions, such as the one written and directed by Joël Pommerat, that cancels the role of Grillo by modifying it in a simple narrator, Vardimon adapts the character’s discourses and recreates it through a precise game of ‘embodiment’.
Harold Bloom, pur opponendosi ufficialmente alla politicizzazione della letteratura data da quelle che lui definisce "Scuole del risentimento", promuove una idea di canone letterario e culturale occidentale che ha implicitamente un valore politico, teso a dimostrare la supremazia anglofona, prima britannica e quindi americana. Si tratta di un Canon ruota intorno all'idea della centralità di William Shakespeare come perno della letteratura e della cultura. Pur partendo da Shakespeare, il dibattito su di un canone prettamente teatrale-letterario è sottostimato rispetto al dibattito del canone in genere. Ciò è dovuto alla difficoltà implicita della materia vista nello stesso tempo come letteratura e arte performativa, con quindi la coesistenza di elementi prettamente letterari-linguistici ed altri che guardano all'aspetto della messa in scena e della fortuna dei testi sotto questo punto di vista. Il contributo si sofferma quindi), soffermandosi sul caso italiano. Si prenderà in considerazione prima Luigi Pirandello come centro di un canone teatrale italiano nella prima metà del '900, anche a discapito di autori, come Roberto Bracco, che all'epoca sembravano avere maggiore risonanza nazionale e internazionale; quindi Eduardo De Filippo, notando come il centro del canone teatrale italiano va a corrispondere, nella figura di Eduardo, con quello del canone regionale. speaking countries? Per la definizione di un canone teatrale-letterario italiano contemporaneo (con particolare risalto a Luigi Pirandello ed Eduardo De Filippo) Provided by Diacronia.ro for IP 185.
Monaciello di Andy Arnold e Megan Barker è un esempio di site-specific
theatre che combina insieme diverse tradizioni performative – Italia e Scozia nello specifico – con un approccio interdisciplinare che guarda anche alla storia e alla letteratura. Pensato appositamente per i sottosuoli di Napoli e con un cast in prevalenza scozzese, che recita quasi integralmente in napoletano, Monaciello inscena il tema del ‘sottosuolo’ attraverso una prospettiva storica (la guerra), intima (la vita nell’oscurità dei protagonisti) e letteraria.
Abstract:
Monaciello by Andy Arnold and Megan Barker is an interesting case study about the relations between different theatre traditions and site-specific performance in a comparative point of view. Especially conceived for the underground of Naples for a predominantly Scottish cast, which performs in Neapolitan dialect, Monaciello focuses on the theme of ‘underground’ through a perspective that is at the same time historical (war), intimate (the life of the protagonists in darkness) and literary.
century among European countries, of a particular interest are the contacts
between Romania and Italy, specifically between the Italian tradition of the
“Grande Attore” and the Romanian one.
Romanian “Grande Attore”, and generally the East-European one, is still
an under-considered territory within theatre studies. However, an analysis
of the tours of Italian interpreters in Romania, mainly in Bucharest, and of
their influence on their Romanian counterparts is essential in
reconstructing a geography of acting in Europe.
In the Romanian case, the debate on the actor it is not simply related to
theatre, but it involves the rising national identity of the Romanian State,
from the Principalities (Wallachia and Moldavia) to the first unification.
Theatre and acting are just two elements in a debate that includes also the
passage from the Cyrillic alphabet to the Latin one. In this context, the
influence of the Italian “Grande Attore” should be considered together
with the influence of (Neo-)Greek and French Culture.
The essay will consider specifically: the sources for the study of the
Romanian “Grande Attore”; the origin of the theatre of dramaturgy in
Romania with its Greek references; the presences of the Italian “Grande
Attore” in Romania (e.g. Rossi, Novelli, Zacconi); the generations of the
Romanian “Grande Attore”, considering key figures, such as Costache
Caragiale, Matei Millo, Mihail Pascaly, Constantin Nottara, Aristizza
Romanescu and Grigore Manulescu, establishing the level of influence of
the Italian tradition, compared, i.e., to the French one.
legend of the so-called "Skull of the Captain" located at the Fontanelle Cemetery, then at the Neapolitan adaptations of the Spanish play Don Juan.
attributed to Tirso de Molina, El Burlador de Sevilla y
Convidado de Piedra (The Trickster of Seville and the Stone
Guest) is preserved in a version published in 1630. I
emphasize the influence that the theatrical versions
have had in creating Neapolitan legend in the
cemetery and vice versa.
worked intensively on Shakespeare and in particular on Hamlet, but giving opposing
interpretations of the work. In his Un Amleto di Meno (1973), Carmelo Bene, taking as starting
point Jules Laforgue’s Hamlet, ou les suites de le pitié filiale (1877), redefines the drama of
Hamlet,refusing to see him as a man who wants to escape his destiny. In Bene’s adaptation,
Hamlet disappears from the stage. By contrast, Celestino Coronado, in his film version in 1976,
underlines the presence of Hamlet on the screen, casting twins, Anthony and David Meyer, in the
role and working on the idea of a Shakespearean Doppelgänger. This paper aims to analyze the
specific elements of the two adaptations of Hamlet, in which there is the common presence of the
Lacanian psychoanalysis.
"Teorema", written and directed by, respectively, Grzegorz Jarzyna and Mikołaj Mikołajczyk. In the
first, "T.E.O.R.E.M.A.T.", Jarzyna works both on Pasolini’s novel and film, creating a performance
composed of the distorted use of the voice, silent dialogues and proximity games, producing a
highly conceptual effect. In his "Wszystko jutro, czyli lalki wybawione", Mikołajczyk, on the other hand,
recreates Pasolini’s story as a choreographed drama, which examines the dilemmas posed by the
Italian author.
Egli è, allo stesso tempo, autore del volume e suo personaggio protagonista, in un’ottica quasi borgesiana dove “i giardini dai
sentieri che si biforcano” trovano nella Napoli perrelliana scelte delle direzioni da prendere e che portano a luoghi e quindi anche a
ricordi diversi.
Se nel mio precedente contributo mi sono soffermato sugli elementi di viaggio e identità presenti nel libro, in questo caso, partendo dagli stessi esempi, è mio interesse piuttosto definire i luoghi fisici e mentali.
Aim of this paper is to show how, with Beppe Grillo’s activities, the teatro della politica has began a "teatro della crisi" both in the use of a theatrical language and contemporary dramatic expression, renewing completely the idea of the political performance and collective ritual. In this way, the MoVimento5Stelle and Beppe Grillo in particular do not use only new technologies (such as blogs), but also forms of direct communication.
The crisis of the first 10 years of "berlusconismo", has already analyzed, from a theatrical perspective, by Nobel laureate Dario Fo, in his portrait of Silvio Berlusconi titled "L’anomalo bicefalo" (2004).
Dario Fo has became one of the noble and intellectual fathers of the MoVimento5Stelle, having being invited regularly to the events of the movement. Beppe Grillo, entertainer and then political activist, has theatralized and dramatized the crisis with forms of one-man show events and others similar to theatre happenings, such as the V-Day, where the performance component was essential.
The dialectic between Dario Fo and the two founders of the movements, Beppe Grillo and Gianroberto Casaleggio, is evident in the book "Il Grillo canta sempre al tramonto". Edited by Fo, the book is not a real dialogue among the authors, but, after a deep analysis, it is constructed as a
theatrical play where the chapters are more similar to acts, the sub-chapters to scenes; there are also “stage directions” and theatre is more than a simple metaphor for the Italian crisis.
of Eduardo De Filippo’s works worldwide. Without being a mere list of titles and versions realized for international stages, the contribution will analyze, through specific examples, the theme of "Eduardo in the world", moving not from geographical areas, but from key themes, focusing attention to the problems of translation/adaptation (particularly of Eduardo’s language), purpose of the translations (texts translated for the stage vs. texts translated for the publication abroad) and reception of the works. The paper will also investigate the reasons that led to a diffusion of the De Filippo’s plays first of all in certain geographical areas (Eastern Europe and South America) and then in others, such as, for example, the English-speaking world.
«Monaciello è una performance site-specific che si adatta allo spazio in cui è allestita, spazio che costituisce una parte rilevante. Sto parlando della Napoli sotterranea – un labirinto di tunnel e corridoi che si distendono in profondità sotto le strade, come nel cuore della città. Sono stato invitato dal Festival a pensare questo tipo di lavoro dopo aver curato per anni la messinscena di spettacoli itineranti site-specific presso The Arches, un teatro che io stesso ho fondato, situato sotto la stazione centrale di Glasgow. Non solo Monaciello è destinato ad un luogo particolare ma è anche ispirato dalle storie sulla popolazione di Napoli che, durante la seconda guerra mondiale, si rifugiava dai bombardamenti nei sotterannei. Il testo è stato scritto dalla drammaturga inglese Megan Baker; le fonti sono, tra l’altro, Naples ‘44 di Norman Lewis e Four Days di Aubrey Menen (che racconta la vicen- de degli “scugnizzi” nel 1943). In ogni caso, qui non proponiamo un documentario ma piuttosto una esperienza di teatro costruita sulla vita reale. Il cast comprende un gruppo di attori e musicisti italiani e scozzesi e il testo sarà per la maggior parte in italiano e napoletano. Il pubblico è condotto attraverso un percorso nei labirinti sotterranei, dove assiste a brevi performance in grotte e lungo corridoi oscuri, fino ad essere coinvolto nello spettacolo. Il viaggio nei sotterranei durerà circa quaranta minuti prima della risalita in superficie. Dunque non è uno spettacolo per chi ha paura» – Andy Arnold.
The talk will be also a moment for the IAB and the Agrupació de Balls Populars de Sitges to establish new and exciting partnership in the field of performing arts.
Moderator and organizer of the talk is Dr Armando Rotondi, Lecturer in Performance Theory and History
Nuova letteratura drammatica contemporanea
Incontro con Giovanni Meola, Cristiana Dell’Anna, Enrico Ottaviano
in occasione della messa in scena de Il giorno della laurea
Modera: Armando Rotondi (docente di Letteratura italiana, Università “L’Orientale”)
chronological and from a thematic point of view; Galleria delle immagini (“Images gallery”); visual arts, photographs, exhibitions; Scaffale (“Shelf”); critical reports and reviews from the most recent book production.