Pub Date : 2019-12-31DOI: 10.15804/iw.2019.10.2.17
A. Barsotti
{"title":"Ripensare a Cani di bancata di Emma Dante. I travestimenti androgini di Mammasantissima","authors":"A. Barsotti","doi":"10.15804/iw.2019.10.2.17","DOIUrl":"https://doi.org/10.15804/iw.2019.10.2.17","url":null,"abstract":"","PeriodicalId":424702,"journal":{"name":"Italica Wratislaviensia","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132600426","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}
Pub Date : 2019-12-31DOI: 10.15804/iw.2019.10.2.11
A. Corea
{"title":"Donne “compositrici” di balli pantomimi in Italia fra Sette e Ottocento","authors":"A. Corea","doi":"10.15804/iw.2019.10.2.11","DOIUrl":"https://doi.org/10.15804/iw.2019.10.2.11","url":null,"abstract":"","PeriodicalId":424702,"journal":{"name":"Italica Wratislaviensia","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130932839","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}
This paper analyses Vittoria Piissimi’s best performance in La Zingara (The Gypsy), performed on the occasion of the Medici marriage of Grand Duke Ferdinando with Cristina di Lorena in Florence in 1589. Piissimi was an excellent artist of the 16th century with a great talent for fascinating the audience. Examining records about gypsy tales and plays, this paper explores similarities and differences amongst Piissimi’s descriptions and interpretations of the gypsy.
{"title":"Vittoria Piissimi zingara medicea: analisi di un’ “interpretazione”","authors":"Antonia Liberto","doi":"10.15804/iw.2019.10.2.3","DOIUrl":"https://doi.org/10.15804/iw.2019.10.2.3","url":null,"abstract":"This paper analyses Vittoria Piissimi’s best performance in La Zingara (The Gypsy), performed on the occasion of the Medici marriage of Grand Duke Ferdinando with Cristina di Lorena in Florence in 1589. Piissimi was an excellent artist of the 16th century with a great talent for fascinating the audience. Examining records about gypsy tales and plays, this paper explores similarities and differences amongst Piissimi’s descriptions and interpretations of the gypsy.","PeriodicalId":424702,"journal":{"name":"Italica Wratislaviensia","volume":"58 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131589403","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}
: Numerous notarial deeds are kept in the State Archive of Mantua, involving some of the most famous comedians of the 17 th century. Piermaria Cecchini (Frittellino); Francesco Andreini and his sons Domenico and Giacinto; Giovan Battista (Lelio) with his son Pietro Enrico; Tristano Martinelli; and others used notaries for wills, sales contracts, debt reduction, inventories of assets, and dowries. Some of these documents also involve the women of the Andreini family: Lavinia (sister Fulvia), Caterina (perhaps sister Clarastella), Virginia Ramponi Andreini (Florinda). In particular, an emancipation deed (1620) indirectly affected Virginia (Genoa, 1583? – before 17 November 1631), the first wife of Giovan Battista Andreini. On the basis of document analysis, two perspectives are explored: Virginia’s peculiar contribution to the activities of the family, also from an economic point of view; and the status of women with regards to emancipation, which must be understood from a legal point of view that was patriarchal and defensive of property. The article thus becomes an opportunity to reflect, starting from Virginia but gazing even beyond, on the condition of women who were active in the theatrical and musical world between jurisprudence, artistic professions, economic heritage, and daily life. In conclusion, through some selected examples (the concerto delle dame of Ferrara, Adriana Basile, Margherita Salicola, Antonia Merighi), the theme of emancipation throughout the 17 th century is analysed, a period when women singers successfully populated the new operatic market. As the law remained unchanged, these women experimented with different strategies to protect their own person and assets.
{"title":"Storie di emancipazione: Virginia Ramponi Andreini (1583-1631) dal suocero al marito","authors":"Paola Besutti","doi":"10.15804/iw.2019.10.2.4","DOIUrl":"https://doi.org/10.15804/iw.2019.10.2.4","url":null,"abstract":": Numerous notarial deeds are kept in the State Archive of Mantua, involving some of the most famous comedians of the 17 th century. Piermaria Cecchini (Frittellino); Francesco Andreini and his sons Domenico and Giacinto; Giovan Battista (Lelio) with his son Pietro Enrico; Tristano Martinelli; and others used notaries for wills, sales contracts, debt reduction, inventories of assets, and dowries. Some of these documents also involve the women of the Andreini family: Lavinia (sister Fulvia), Caterina (perhaps sister Clarastella), Virginia Ramponi Andreini (Florinda). In particular, an emancipation deed (1620) indirectly affected Virginia (Genoa, 1583? – before 17 November 1631), the first wife of Giovan Battista Andreini. On the basis of document analysis, two perspectives are explored: Virginia’s peculiar contribution to the activities of the family, also from an economic point of view; and the status of women with regards to emancipation, which must be understood from a legal point of view that was patriarchal and defensive of property. The article thus becomes an opportunity to reflect, starting from Virginia but gazing even beyond, on the condition of women who were active in the theatrical and musical world between jurisprudence, artistic professions, economic heritage, and daily life. In conclusion, through some selected examples (the concerto delle dame of Ferrara, Adriana Basile, Margherita Salicola, Antonia Merighi), the theme of emancipation throughout the 17 th century is analysed, a period when women singers successfully populated the new operatic market. As the law remained unchanged, these women experimented with different strategies to protect their own person and assets.","PeriodicalId":424702,"journal":{"name":"Italica Wratislaviensia","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125120203","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}
Pub Date : 2019-12-31DOI: 10.15804/iw.2019.10.2.15
M. Borelli, Progetto Ormete
: This essay is based on one of the ORMETE (Oralità Memoria Teatro: www.ormete.net) projects: Donne di teatro a Roma ai tempi della mobilitazione femminista (1965–1985) . The research shows the inter-relations between the feminist movement and the actresses of the avant-garde scene in Rome. The focus of each of the women’s personal narrations is characterised by its strong and definite feminist or anti-conformist identity and by its determination to channel its own imagery in the experimental scene of the avant-garde. Many of the women gathered in feminist companies or joined collective groups; some ventured the road of dramaturgy, while still others dared more alternative, experimental kinds of solo performances. This text sheds light on a variety of alternative spaces for performances in Rome. It is there where these new forms of theatrical expressions were born.
本文基于ORMETE (oralitmemoria Teatro: www.ormete.net)项目之一:Donne di Teatro a Roma ai temi della mobilitazione femminista(1965-1985)。研究揭示了女权主义运动与罗马先锋派女演员之间的相互关系。每个女性个人叙事的焦点都以其强烈而明确的女权主义或反墨守成规的身份为特征，并决心在前卫的实验场景中引导自己的形象。许多女性加入了女权主义公司，或者加入了集体团体;一些人冒险走上了戏剧之路，而另一些人则更大胆地选择了另类的、实验性的个人表演。这篇文章揭示了罗马各种可供选择的表演空间。这些新的戏剧表现形式就是在那里诞生的。
{"title":"Attrici d’avanguardia e teatro femminista a Roma negli anni Settanta: nuovi luoghi e linguaggi","authors":"M. Borelli, Progetto Ormete","doi":"10.15804/iw.2019.10.2.15","DOIUrl":"https://doi.org/10.15804/iw.2019.10.2.15","url":null,"abstract":": This essay is based on one of the ORMETE (Oralità Memoria Teatro: www.ormete.net) projects: Donne di teatro a Roma ai tempi della mobilitazione femminista (1965–1985) . The research shows the inter-relations between the feminist movement and the actresses of the avant-garde scene in Rome. The focus of each of the women’s personal narrations is characterised by its strong and definite feminist or anti-conformist identity and by its determination to channel its own imagery in the experimental scene of the avant-garde. Many of the women gathered in feminist companies or joined collective groups; some ventured the road of dramaturgy, while still others dared more alternative, experimental kinds of solo performances. This text sheds light on a variety of alternative spaces for performances in Rome. It is there where these new forms of theatrical expressions were born.","PeriodicalId":424702,"journal":{"name":"Italica Wratislaviensia","volume":"315 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116766383","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":"Il teatro delle e per le monache (Napoli, secolo XVIII)","authors":"E. Chavarria","doi":"10.15804/iw.2019.10.2.7","DOIUrl":"https://doi.org/10.15804/iw.2019.10.2.7","url":null,"abstract":"","PeriodicalId":424702,"journal":{"name":"Italica Wratislaviensia","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131374495","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}
: in the second half of the 16 th century, the arrival of women on the stage caused a revolution, the effects of which extended to the entirety of modern society. A troupe on the move and always at risk, faced with waves of condemnation, the women actors, nomads by trade, were preceded by a diffidence that was both twofold and simultaneous: towards the principal makings of professional work in the theatrical arts and towards the moral qualities of which they had been regarded as the heralds, not individually but as a social group. The process of deconstructing the artistic identity of these pioneering actresses, who tended to be equated with harlots or to their opposites, that is, virgin actresses, was not limited to the first appearance of women on the professional scene, but, rather, it became a long-standing historical category. The article is concerned with removing prior moral judgments that were stratified over the actresses and freeing the historiographic field from preconceived viewpoints; it is concerned with dismantling misogyny and anachronistic sidelong glances. Between masks and prejudices regarding the perturbing aesthetic perception represented by the entrance of women into the world of art, distinguishing that which separates the actress’s profession from sexual adventures, talent from reputation, art from seduction, is essential to provide new historiographic categories and new coordinates to the study of the commedia dell’arte . in this way, other past experiences come to light: the launch towards professionalism, the role of marriage, and the violence that women underwent are a few of the problematic issues to reconsider and overcome based on prior documentary studies.
{"title":"Il professionismo delle attrici: stato degli studi e nuove domande","authors":"T. Megale","doi":"10.15804/iw.2019.10.2.1","DOIUrl":"https://doi.org/10.15804/iw.2019.10.2.1","url":null,"abstract":": in the second half of the 16 th century, the arrival of women on the stage caused a revolution, the effects of which extended to the entirety of modern society. A troupe on the move and always at risk, faced with waves of condemnation, the women actors, nomads by trade, were preceded by a diffidence that was both twofold and simultaneous: towards the principal makings of professional work in the theatrical arts and towards the moral qualities of which they had been regarded as the heralds, not individually but as a social group. The process of deconstructing the artistic identity of these pioneering actresses, who tended to be equated with harlots or to their opposites, that is, virgin actresses, was not limited to the first appearance of women on the professional scene, but, rather, it became a long-standing historical category. The article is concerned with removing prior moral judgments that were stratified over the actresses and freeing the historiographic field from preconceived viewpoints; it is concerned with dismantling misogyny and anachronistic sidelong glances. Between masks and prejudices regarding the perturbing aesthetic perception represented by the entrance of women into the world of art, distinguishing that which separates the actress’s profession from sexual adventures, talent from reputation, art from seduction, is essential to provide new historiographic categories and new coordinates to the study of the commedia dell’arte . in this way, other past experiences come to light: the launch towards professionalism, the role of marriage, and the violence that women underwent are a few of the problematic issues to reconsider and overcome based on prior documentary studies.","PeriodicalId":424702,"journal":{"name":"Italica Wratislaviensia","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134356697","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}
The profession of the commedia dell'arte actress acquires a markedly visible position in the broad public horizon of Modern-Age Italy. The actress, in that context, places herself both at the borders of the male amateur theatre practices and amongst the virtuous feminine models (bus, wives, virgins), conflicting with both. These counts-positios must have been very visible, particularly to the spectators, who could easily draw comparisons both with the amateur shows, where only male actors played, and with different kinds of feminine characters. These contrasts are explored in this article using moral essays of the time, including the equivalence between actress and prostitute put forward by a lengthly treatise in 1646 by G.D. Ottonelli.
{"title":"L’anti-cristiana. Sulle attrici professioniste della prima età moderna","authors":"Bernadette Majorana","doi":"10.15804/iw.2019.10.2.5","DOIUrl":"https://doi.org/10.15804/iw.2019.10.2.5","url":null,"abstract":"The profession of the commedia dell'arte actress acquires a markedly visible position in the broad public horizon of Modern-Age Italy. The actress, in that context, places herself both at the borders of the male amateur theatre practices and amongst the virtuous feminine models (bus, wives, virgins), conflicting with both. These counts-positios must have been very visible, particularly to the spectators, who could easily draw comparisons both with the amateur shows, where only male actors played, and with different kinds of feminine characters. These contrasts are explored in this article using moral essays of the time, including the equivalence between actress and prostitute put forward by a lengthly treatise in 1646 by G.D. Ottonelli.","PeriodicalId":424702,"journal":{"name":"Italica Wratislaviensia","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121438515","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}
Agnieszka Latos, Uniwersytet Humanistycznospołeczny Swps, Aleksandra Pronińska
{"title":"Il sistema nominale italiano e polacco a confronto: riflessioni sulle categorie grammaticali di genere e caso","authors":"Agnieszka Latos, Uniwersytet Humanistycznospołeczny Swps, Aleksandra Pronińska","doi":"10.15804/iw.2019.10.1.5","DOIUrl":"https://doi.org/10.15804/iw.2019.10.1.5","url":null,"abstract":"","PeriodicalId":424702,"journal":{"name":"Italica Wratislaviensia","volume":"652 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121990109","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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