A central part in the change of the twentieth century Italian theatre, which took place during the thirties, was played by the emerging concept of the theatrical direction. In the nineteenth century the Italian and European stages were merely governed by the vocal technique of capocomico/a, who was the leading actor or actress of his/her own company and ruled his/her actors’ acting. But in the early decades of the twentieth century a new trend - which took over during the fascist era - was aiming to create a different kind of cultivated actors, whose performance should adhere to the playwright’s work and follow the director’s will. The paper will explore how the supremacy of the director affected and changed previous principles and rules of Italian actors’ craft, and what of the past tradition was preserved by the new generation.
A central part in the change of the twentieth century Italian theatre, which took place during the thirties, was played by the emerging concept of the theatrical direction. In the nineteenth century the Italian and European stages were merely governed by the vocal technique of capocomico/a, who was the leading actor or actress of his/her own company and ruled his/her actors’ acting. But in the early decades of the twentieth century a new trend - which took over during the fascist era - was aiming to create a different kind of cultivated actors, whose performance should adhere to the playwright’s work and follow the director’s will. The paper will explore how the supremacy of the director affected and changed previous principles and rules of Italian actors’ craft, and what of the past tradition was preserved by the new generation.
The Inheritance of Capocomici in the Fascist Era / Scaturro, Irene. - STAMPA. - (2014), pp. 243-243. (Intervento presentato al convegno Theatre and Stratification tenutosi a University of Warwick nel luglio 2014).
The Inheritance of Capocomici in the Fascist Era
SCATURRO, IRENE
2014
Abstract
A central part in the change of the twentieth century Italian theatre, which took place during the thirties, was played by the emerging concept of the theatrical direction. In the nineteenth century the Italian and European stages were merely governed by the vocal technique of capocomico/a, who was the leading actor or actress of his/her own company and ruled his/her actors’ acting. But in the early decades of the twentieth century a new trend - which took over during the fascist era - was aiming to create a different kind of cultivated actors, whose performance should adhere to the playwright’s work and follow the director’s will. The paper will explore how the supremacy of the director affected and changed previous principles and rules of Italian actors’ craft, and what of the past tradition was preserved by the new generation.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
