Il presente lavoro cerca di avvicinarsi alla complessità dell'attuale status quaestionis della performance teatrale, con uno sguardo e una prospettiva estetica, rivolto in particolare alla drammaturgia postdrammatica degli ultimi trent'anni; uno sguardo che trova nello studio analitico di tre re-enactements – This is theatre like it was to be expected and foreseen (1982; 2012) e The Power of Theatrical Madness (1984; 2012) di Jan Fabre, seguiti da Les Aiguilles et l'Opium (1991; 2013) di Robert Lepage – un luogo privilegiato di osservazione. / This research tries to approach the complexity of the current status quaestionis of theatrical performance, with an aesthetic perspective focused on the postdramatic theatre of the last thirty years; a look that finds in the analysis of three re-enactements - This is theater like it was to be expected and Foreseen (1982; 2012) and The Power of Theatrical Madness (1984; 2012) by Jan Fabre, followed by Needles and Opium (1991; 2013) by Robert Lepage - a privileged place of observation.
Identifer | oai:union.ndltd.org:DocTA/oai:tesionline.unicatt.it:10280/6178 |
Date | 25 March 2015 |
Creators | ATIE, SARAH LAURA |
Contributors | BEARZOT, CINZIA SUSANNA, CASCETTA, ANNAMARIA |
Publisher | Università Cattolica del Sacro Cuore, MILANO |
Source Sets | Universita Cattolica del Sacro Cuore. DocTA |
Language | Italian |
Detected Language | English |
Type | Doctoral Thesis |
Format | Adobe PDF |
Rights | reserved |
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