Il saggio ha l’obiettivo di indagare i "luoghi della parola" all’interno dei quali, nell'Italia degli anni Sessanta, arti visive e performative hanno iniziato a entrare in relazione. Vengono anzitutto presi in considerazione i primi convegni che hanno coinvolto figure appartenenti all’uno e all’altro settore (soprattutto ma non soltanto, per esempio, Germano Celant e Giuseppe Bartolucci, fra i maggiori promotori del dialogo così come del rinnovamento critico del periodo e della sua precoce "messa in storia"). Dall’esame degli interventi indagati emergono testimonianze, visioni, riflessioni che rimettono in discussione le prospettive correnti sull’argomento e illuminano in particolare il processo di rinnovamento della critica in quel periodo. Infine, in forma di contrappunto, l’autrice dedica spazio alle prospettive degli artisti, anch’essi impegnati in un affine – ma sensibilmente diverso – scambio transdisciplinare nel medesimo giro d’anni (in particolare tramite la costruzione di un evento-limite quale fu "Grammatica No Stop Teatro", nella documentazione filmica di Alberto Grifi).
The essay aims to investigate the concrete occasions in which visual and performing arts began to try to establish a dialogue in Italy in 1960s, discussing some historiographical perspectives about this kind of collaboration that are well-established in both fields. On the one hand, I consider the theoretical side of this historical dynamic, reconstructing through archival documents the first conferences and talks that involved theatre and art critics (e.g. Giuseppe Bartolucci and Germano Celant, among the major promoters of this relationship as well as of a process of aesthetic and theoretical renewal in both fields); on the other hand, I confront this well-known dialogical perspective with artists' point of view, who were also engaged in a similar but quite different transdisciplinary exchange (in particular, analyzing the happening "Grammatica No Stop Teatro" through Alberto Grifi's audiovisual documentation).
Incontri reali, annunciati, mancati fra arte e teatro negli anni Sessanta
Roberta Ferraresi
2022-01-01
Abstract
The essay aims to investigate the concrete occasions in which visual and performing arts began to try to establish a dialogue in Italy in 1960s, discussing some historiographical perspectives about this kind of collaboration that are well-established in both fields. On the one hand, I consider the theoretical side of this historical dynamic, reconstructing through archival documents the first conferences and talks that involved theatre and art critics (e.g. Giuseppe Bartolucci and Germano Celant, among the major promoters of this relationship as well as of a process of aesthetic and theoretical renewal in both fields); on the other hand, I confront this well-known dialogical perspective with artists' point of view, who were also engaged in a similar but quite different transdisciplinary exchange (in particular, analyzing the happening "Grammatica No Stop Teatro" through Alberto Grifi's audiovisual documentation).
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