The essay focus on a very important but very little studied theatre group of the "cantine romane" between the 1960s and the 1970s: Dioniso led by Gian Carlo Celli, which path from the neo-avant-garde to the political activism is analyzed through several archival (often unpublished and also unusual) sources (e.g. police reports). More broadly, the aim is to identify some substantial historiographical questions for the processes of historicising the New Theatre, in particular about the relationship between art and politics, the mutation of the actor, and the dynamics of historical-critical reading: in particular, the contribution starts reading Dioniso's first experiments in participatory theatre are read within the context of the artistic-literary counterculture of the 1960s, then passing through the 1968 protest movement and performance politics, until to its passage "beyond theatre" in Sardinia (assembly-theatre, muralism, etc.).
Ricostruendo il percorso del gruppo Dioniso dalle "cantine romane" negli anni Sessanta all'attivismo politico dopo il Sessantotto - attraverso una molteplicità di fonti documentarie anche inedite -, l'articolo identifica alcune questioni storiografiche sostanziali per i processi di storicizzazione del Nuovo Teatro, in particolare sui rapporti fra arte e politica, sulla mutazione della figura attoriale, sulle dinamiche di lettura storico-critica. Sono ricostruite in particolare le fasi del gruppo guidato da Gian Carlo Celli in relazione alla controcultura artistica-letteraria degli anni Sessanta, al Sessantotto milanese coi primi esperimenti di teatro di partecipazione e di strada, fino al passaggio "oltre il teatro" in Sardegna e alla sperimentazione di pratiche performative oltre il palcoscenico (teatro-assemblea, muralismo, e così via)
Dioniso altrove. Gian Carlo Celli oltre il Sessantotto teatrale
ROBERTA FERRARESI
2023-01-01
Abstract
The essay focus on a very important but very little studied theatre group of the "cantine romane" between the 1960s and the 1970s: Dioniso led by Gian Carlo Celli, which path from the neo-avant-garde to the political activism is analyzed through several archival (often unpublished and also unusual) sources (e.g. police reports). More broadly, the aim is to identify some substantial historiographical questions for the processes of historicising the New Theatre, in particular about the relationship between art and politics, the mutation of the actor, and the dynamics of historical-critical reading: in particular, the contribution starts reading Dioniso's first experiments in participatory theatre are read within the context of the artistic-literary counterculture of the 1960s, then passing through the 1968 protest movement and performance politics, until to its passage "beyond theatre" in Sardinia (assembly-theatre, muralism, etc.).File | Dimensione | Formato | |
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