The contribution is dedicated to the ‘teatro da camera’ of Annibale Ruccello (1956-86), thirty years after his death, recognized as one of the greatest Italian playwrights of the late twentieth century. ‘Teatro da camera’ in the dual sense of writing for a few characters (up to the monologue) and of performing in the constrained space of a ‘room’, even in comparison with other great examples of the drama that precedes and follows, from Harold Pinter to Mario Vargas Llosa (Al pie del Tàmesis, 2008). The ‘camera’ is of particular interest – even in comparison to these names – with a theater of personified mental space and ways of representing temporal experience.

"Per parti" e "a voce sola". Sull'articolazione drammatica di Annibale Ruccello

VESCOVO
2019

Abstract

The contribution is dedicated to the ‘teatro da camera’ of Annibale Ruccello (1956-86), thirty years after his death, recognized as one of the greatest Italian playwrights of the late twentieth century. ‘Teatro da camera’ in the dual sense of writing for a few characters (up to the monologue) and of performing in the constrained space of a ‘room’, even in comparison with other great examples of the drama that precedes and follows, from Harold Pinter to Mario Vargas Llosa (Al pie del Tàmesis, 2008). The ‘camera’ is of particular interest – even in comparison to these names – with a theater of personified mental space and ways of representing temporal experience.
"Un viaggio realmente avvenuto". Studi in onore di Ricciarda Ricorda
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/10278/3723178
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