Tommaso Salvini, Sarah Bern, Cristina Tosetto, Adelaide Ristori
The article analyses theatre photography in the period between the second half of the Nineteenth Century and the early Twentieth Century. In this period, in parallel with the diffusion of the photographic technique, the phenomenon of the great actor establishes throughout Europe, while we are witnessing to the birth of the Stage Di-recting. The investigation moves from a double perspective: on the one hand, highlighting how the notion of theatricality is at the basis of the photographic device, and on the other, underlining how theatre photography is characterised by a substantial ambiguity which calls into question its testimonial value. The two perspectives of investigation are developed starting from examples taken from the European scene, highlighting how, depending on the context, photography and theatre play a role of mutual modelisation, and focusing on photographic portraits of actors, both private and on stage, through some emblematic cases, such as Tommaso Salvini, Sarah Bern-hardt, Eleonora Duse, Henry Irving. sources (two portraits, some a caricature) be Schiller’s Stuarda Ristori. identification that the used to build the scenic image the allowed to precisely trace the portrait that inspired the figurative conception of being born into a family of actors. Such traits of realistic prosaicity are instead con-firmed by some testimonies and may be found in the image of her vigorous stage action documented by the caricature. among to build an iconic image of herself, which spread internationally since her Parisian debut in 1855. Aware of the importance of photography, she did not hesitate to be portrayed by the most important photographers. Ristori thus entered the pantheon of illustrious people, known throughout Europe and beyond its borders. Her portraits in carte de visite format quickly integrat-ed into the circuit of the press, establishing a complex relationship with pre-existing graphic techniques, such as engraving. The article analyses the progressive diffusion of Adelaide Ristori’s photographs, focusing in particular on the carte de visite format and on newspapers. The corpus includes three photographs of the actress kept at the Bibliothèque Nationale de France (BNF): a portrait by August Bertsch and two cartes de visite by André Adolphe Eugène Disdéri and Étienne Carjat. What image of the actress do these pictures convey? How do press, graphic arts and photography inter-act in creating the iconic image of the actress? of the ballet tradition. The Cuocolo Collection, housed at the Museo Nazionale di San Martino in Naples, is an extraordinary photographic collection, dedicated exclusively to the world of popular theater in Naples in the nineteenth century and especially at the Teatro San Carlino. The essay intends to reconstruct the historical-theatrical events of the Collection, full of eighty-nine shots between portraits and ensemble scenes, and deepen its historical-spectacular meanings. The study is dedicated to this theatre
本文分析了19世纪下半叶至20世纪初的戏剧摄影。在这一时期，随着摄影技术的传播，伟大演员的现象在整个欧洲建立起来，而我们正在见证舞台导演的诞生。调查从双重角度展开:一方面，强调戏剧的概念是如何在摄影设备的基础上，另一方面，强调戏剧摄影是如何以一种实质性的模糊性为特征的，这使人们质疑其见证价值。这两种调查视角是从欧洲场景的例子开始发展的，强调如何根据背景，摄影和戏剧发挥相互建模的作用，并通过一些象征性的案例，如托马索·萨尔维尼，莎拉·伯恩哈特，埃莉奥诺拉·杜塞，亨利·欧文，专注于演员的摄影肖像，无论是私人的还是舞台上的。来源(两幅肖像，有些是漫画)是席勒的《历史》。鉴定认为，用来建立风景形象，允许精确地追踪肖像，启发了具象的概念，出生在一个家庭的演员。相反，这种现实主义的平淡无奇的特征得到了一些证据的证实，并且可以在漫画中记录的她充满活力的舞台动作形象中找到。自1855年在巴黎首次亮相以来，她的标志性形象传遍了全球。意识到摄影的重要性，她毫不犹豫地被最重要的摄影师描绘。因此，里斯托里进入了杰出人物的万神殿，在欧洲和欧洲以外都很有名。她的肖像以随叫随到的形式迅速融入印刷电路，与先前的图形技术(如雕刻)建立了复杂的关系。本文分析了阿德莱德·里斯托里的照片的逐步扩散，特别侧重于按需访问格式和报纸。该文集包括保存在法国国家图书馆(BNF)的三张女演员的照片:奥古斯特·伯奇(August Bertsch)的一幅肖像，以及安德烈·阿道夫·尤格<e:1>·斯迪西姆里(andr<s:1> Adolphe eug<e:1> dmitriri)和Étienne Carjat的两张访问记录。这些照片传达了这位女演员的什么形象?在塑造这位女演员的标志性形象时，新闻、平面艺术和摄影是如何相互作用的?芭蕾舞的传统。位于那不勒斯圣马蒂诺国家博物馆(Museo Nazionale di San Martino)的库科洛收藏(Cuocolo Collection)是一个非凡的摄影集，专门用于展示19世纪那不勒斯流行剧院的世界，尤其是圣卡里诺剧院(Teatro San Carlino)。本文试图通过89个肖像和合奏场景之间的镜头，重构《合奏集》中的历史戏剧事件，并深化其历史壮观的意义。这项研究以摄影的形式致力于这个剧院，这是一个具有特殊价值的图像发现，直到现在还缺乏充分的科学调查，不断地受到其逐渐减少到恋物的影响。作为他那个时代的一个细心的见证者，这位摄影师确实能够通过主人公的形象来讲述意大利剧院的场景，这是其他人无法比拟的。本文分析了19世纪末至20世纪初活跃在热那亚的三家主要摄影工作室与当地和全国的知识和艺术环境，特别是与戏剧界建立的密切关系。从对报纸上发表的文化和社会编年史的系统分析开始，并将发现的信息与保存在主要城市和国家摄影馆藏中的照片以及当代出版物中的照相复制品进行比较，试图重新组合热那亚工作室制作的与歌剧和戏剧有关的图像并确定其日期。尽管共享的传播策略基于在媒体上的系统存在以及与娱乐界的经常工具性联盟，但这里考虑的摄影师以不同的风格表达自己。其中，Sciutto摄影工作室以质量和知名度而闻名，尤其是Eleonora Duse的肖像，令作者和女演员难忘。最后，揭示了戏剧表演对资产阶级品味的影响以及对摄影肖像的污染。什么是舞蹈摄影?它是如何诞生的?它是如何发展的?我们如何研究它?围绕这些问题，本贡献旨在确定一个研究领域和研究方法，并通过一些象征性的例子来追踪表达性语言的起源。 本文分析了19世纪下半叶至20世纪初的戏剧摄影。在这一时期，随着摄影技术的传播，伟大演员的现象在整个欧洲建立起来，而我们正在见证舞台导演的诞生。调查从双重角度展开:一方面，强调戏剧的概念是如何在摄影设备的基础上，另一方面，强调戏剧摄影是如何以一种实质性的模糊性为特征的，这使人们质疑其见证价值。这两种调查视角是从欧洲场景的例子开始发展的，强调如何根据背景，摄影和戏剧发挥相互建模的作用，并通过一些象征性的案例，如托马索·萨尔维尼，莎拉·伯恩哈特，埃莉奥诺拉·杜塞，亨利·欧文，专注于演员的摄影肖像，无论是私人的还是舞台上的。来源(两幅肖像，有些是漫画)是席勒的《历史》。鉴定认为，用来建立风景形象，允许精确地追踪肖像，启发了具象的概念，出生在一个家庭的演员。相反，这种现实主义的平淡无奇的特征得到了一些证据的证实，并且可以在漫画中记录的她充满活力的舞台动作形象中找到。自1855年在巴黎首次亮相以来，她的标志性形象传遍了全球。意识到摄影的重要性，她毫不犹豫地被最重要的摄影师描绘。因此，里斯托里进入了杰出人物的万神殿，在欧洲和欧洲以外都很有名。她的肖像以随叫随到的形式迅速融入印刷电路，与先前的图形技术(如雕刻)建立了复杂的关系。本文分析了阿德莱德·里斯托里的照片的逐步扩散，特别侧重于按需访问格式和报纸。该文集包括保存在法国国家图书馆(BNF)的三张女演员的照片:奥古斯特·伯奇(August Bertsch)的一幅肖像，以及安德烈·阿道夫·尤格<e:1>·斯迪西姆里(andr<s:1> Adolphe eug<e:1> dmitriri)和Étienne Carjat的两张访问记录。这些照片传达了这位女演员的什么形象?在塑造这位女演员的标志性形象时，新闻、平面艺术和摄影是如何相互作用的?芭蕾舞的传统。位于那不勒斯圣马蒂诺国家博物馆(Museo Nazionale di San Martino)的库科洛收藏(Cuocolo Collection)是一个非凡的摄影集，专门用于展示19世纪那不勒斯流行剧院的世界，尤其是圣卡里诺剧院(Teatro San Carlino)。本文试图通过89个肖像和合奏场景之间的镜头，重构《合奏集》中的历史戏剧事件，并深化其历史壮观的意义。这项研究以摄影的形式致力于这个剧院，这是一个具有特殊价值的图像发现，直到现在还缺乏充分的科学调查，不断地受到其逐渐减少到恋物的影响。作为他那个时代的一个细心的见证者，这位摄影师确实能够通过主人公的形象来讲述意大利剧院的场景，这是其他人无法比拟的。本文分析了19世纪末至20世纪初活跃在热那亚的三家主要摄影工作室与当地和全国的知识和艺术环境，特别是与戏剧界建立的密切关系。从对报纸上发表的文化和社会编年史的系统分析开始，并将发现的信息与保存在主要城市和国家摄影馆藏中的照片以及当代出版物中的照相复制品进行比较，试图重新组合热那亚工作室制作的与歌剧和戏剧有关的图像并确定其日期。尽管共享的传播策略基于在媒体上的系统存在以及与娱乐界的经常工具性联盟，但这里考虑的摄影师以不同的风格表达自己。其中，Sciutto摄影工作室以质量和知名度而闻名，尤其是Eleonora Duse的肖像，令作者和女演员难忘。最后，揭示了戏剧表演对资产阶级品味的影响以及对摄影肖像的污染。什么是舞蹈摄影?它是如何诞生的?它是如何发展的?我们如何研究它?围绕这些问题，本贡献旨在确定一个研究领域和研究方法，并通过一些象征性的例子来追踪表达性语言的起源。 舞蹈摄影不同于舞者的肖像，也不同于舞台摄影，它被配置在裸体、动作拍摄、舞台摄影、生动场面等不同类型的十字路口。它从这些视觉传
{"title":"Archivi","authors":"Tommaso Salvini, Sarah Bern, Cristina Tosetto, Adelaide Ristori","doi":"10.2307/j.ctv1h0p5jx.19","DOIUrl":"https://doi.org/10.2307/j.ctv1h0p5jx.19","url":null,"abstract":"The article analyses theatre photography in the period between the second half of the Nineteenth Century and the early Twentieth Century. In this period, in parallel with the diffusion of the photographic technique, the phenomenon of the great actor establishes throughout Europe, while we are witnessing to the birth of the Stage Di-recting. The investigation moves from a double perspective: on the one hand, highlighting how the notion of theatricality is at the basis of the photographic device, and on the other, underlining how theatre photography is characterised by a substantial ambiguity which calls into question its testimonial value. The two perspectives of investigation are developed starting from examples taken from the European scene, highlighting how, depending on the context, photography and theatre play a role of mutual modelisation, and focusing on photographic portraits of actors, both private and on stage, through some emblematic cases, such as Tommaso Salvini, Sarah Bern-hardt, Eleonora Duse, Henry Irving. sources (two portraits, some a caricature) be Schiller’s Stuarda Ristori. identification that the used to build the scenic image the allowed to precisely trace the portrait that inspired the figurative conception of being born into a family of actors. Such traits of realistic prosaicity are instead con-firmed by some testimonies and may be found in the image of her vigorous stage action documented by the caricature. among to build an iconic image of herself, which spread internationally since her Parisian debut in 1855. Aware of the importance of photography, she did not hesitate to be portrayed by the most important photographers. Ristori thus entered the pantheon of illustrious people, known throughout Europe and beyond its borders. Her portraits in carte de visite format quickly integrat-ed into the circuit of the press, establishing a complex relationship with pre-existing graphic techniques, such as engraving. The article analyses the progressive diffusion of Adelaide Ristori’s photographs, focusing in particular on the carte de visite format and on newspapers. The corpus includes three photographs of the actress kept at the Bibliothèque Nationale de France (BNF): a portrait by August Bertsch and two cartes de visite by André Adolphe Eugène Disdéri and Étienne Carjat. What image of the actress do these pictures convey? How do press, graphic arts and photography inter-act in creating the iconic image of the actress? of the ballet tradition. The Cuocolo Collection, housed at the Museo Nazionale di San Martino in Naples, is an extraordinary photographic collection, dedicated exclusively to the world of popular theater in Naples in the nineteenth century and especially at the Teatro San Carlino. The essay intends to reconstruct the historical-theatrical events of the Collection, full of eighty-nine shots between portraits and ensemble scenes, and deepen its historical-spectacular meanings. The study is dedicated to this theatre ","PeriodicalId":129465,"journal":{"name":"La rovina come pretesto","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126282447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Prologo:","authors":"Miguel F. Gil Palacios","doi":"10.1787/ed7f52ff-es","DOIUrl":"https://doi.org/10.1787/ed7f52ff-es","url":null,"abstract":"","PeriodicalId":129465,"journal":{"name":"La rovina come pretesto","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125150437","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
En Galicia, desde al menos el siglo XIX, la figura de Prisciliano presenta los rasgos propios de un héroe nacional. Para Manuel Murguía, hacia 1865, su nombre es un motivo de orgullo, porque muestra el alto desarrollo intelectual de Galicia en aquellos lejanos tiempos y porque, pese a sus errores, contribuyó a la implantación del cristianismo en esta parte del Imperio romano. Se extiende Murguía en explicar las causas de que sus doctrinas tuvieran aceptación tan general en Galicia y cree que se debe al hecho de que entroncaron con antiguas tradiciones muy arraigadas: “Prisciliano conmueve las gentes célticas de Galicia, amalgamando los dogmas cristianos con las antiguas tradiciones de nuestro pueblo” (Historia de Galicia, La Coruña, 19062, 568). Esta idea la retomarán los integrantes de la “Generación Nos” en los años veinte del siglo pasado, con distintos matices, para hacer de Prisciliano el fundador de una Iglesia separada, más o menos católica (según los autores), pero específicamente gallega (en tanto que céltica) y enfrentada al poder (imperial en su caso). Tal vez quien mayor énfasis puso fue Alfonso Rodríguez Castelao, que le dedicó al heresiarca fervorosas palabras en su obra más importante, Sempre en Galiza, publicada ya en el exilio, en Buenos Aires, en 1944 (edición crítica en Santiago de Compostela, 1992). Allí Prisciliano, como puede verse en la página 267, encarna los mejores valores del alma gallega entendida como una realidad ahistórica:
在加利西亚，至少从19世纪开始，普里西利亚诺的形象就表现出民族英雄的特征。对于Manuel murguia来说，大约在1865年，他的名字是一个值得骄傲的理由，因为它显示了加利西亚在那个遥远的时代的高度智力发展，因为尽管他有错误，但他为基督教在罗马帝国的这一地区的植入做出了贡献。murguia流淌在解释原因非常一般性的理论就会接受在加利西亚和认为事实上是因为entroncaron传统非常根深蒂固:“Prisciliano感动着人们,上面带有基督教加利西亚,内容理论与我国人民的传统”(加利西亚历史、拉科鲁尼亚、19062 568)。这主意retomarán一代”的成员“20世纪20年代,我们与不同的微妙之处,使Prisciliano天主教教会创始人分割,或多或少(据提交人),但是具体gallega(而céltica)和帝国面对权力(并在可能的情况下)。也许最强调的是阿方索rodriguez卡斯特劳(Alfonso rodriguez Castelao)，他在他最重要的著作《Sempre en Galiza》(Sempre en Galiza)中献给了这位异端的狂热话语，这本书于1944年在布宜诺斯艾利斯流亡期间出版(1992年圣地亚哥德孔波斯特拉批判性版)。正如你在第267页看到的，普里西利亚诺体现了加利西亚灵魂的最佳价值，被理解为一个非历史的现实:
{"title":"Prologo:","authors":"J. M. Touza","doi":"10.2307/j.ctv9zcgtc.3","DOIUrl":"https://doi.org/10.2307/j.ctv9zcgtc.3","url":null,"abstract":"En Galicia, desde al menos el siglo XIX, la figura de Prisciliano presenta los rasgos propios de un héroe nacional. Para Manuel Murguía, hacia 1865, su nombre es un motivo de orgullo, porque muestra el alto desarrollo intelectual de Galicia en aquellos lejanos tiempos y porque, pese a sus errores, contribuyó a la implantación del cristianismo en esta parte del Imperio romano. Se extiende Murguía en explicar las causas de que sus doctrinas tuvieran aceptación tan general en Galicia y cree que se debe al hecho de que entroncaron con antiguas tradiciones muy arraigadas: “Prisciliano conmueve las gentes célticas de Galicia, amalgamando los dogmas cristianos con las antiguas tradiciones de nuestro pueblo” (Historia de Galicia, La Coruña, 19062, 568). Esta idea la retomarán los integrantes de la “Generación Nos” en los años veinte del siglo pasado, con distintos matices, para hacer de Prisciliano el fundador de una Iglesia separada, más o menos católica (según los autores), pero específicamente gallega (en tanto que céltica) y enfrentada al poder (imperial en su caso). Tal vez quien mayor énfasis puso fue Alfonso Rodríguez Castelao, que le dedicó al heresiarca fervorosas palabras en su obra más importante, Sempre en Galiza, publicada ya en el exilio, en Buenos Aires, en 1944 (edición crítica en Santiago de Compostela, 1992). Allí Prisciliano, como puede verse en la página 267, encarna los mejores valores del alma gallega entendida como una realidad ahistórica:","PeriodicalId":129465,"journal":{"name":"La rovina come pretesto","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121826789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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