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René Pollesch

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8 nel momento dell’azione scenica. Questa rivoluzionaria prospettiva che viene fatta risalire ai grandi del teatro del Novecento è definita da Wirth, Praxeologie 4 e così fatta propria dal nostro Drammaturgo. Al fianco di Wirth, nella creazione della Scuola e nell’insegnamento di una didattica originale troviamo Hans-Thies Lehmann, che a proposito della Praxeologie dice: << Die Theorie sollte sich von der Kunst-Seite her konstruieren. Deshalb habe ich versucht, über Deleuze oder Derrida zu reden, aber nicht so, dass nun alle wie kleine Derridas sprechen. Meine Absicht war, dass die Studenten diese Denkweise als eine öffnende begreifen und diese Haltung in ihre Arbeit mit hinüber nehmen 5 >>. La funzione soprattutto anarchica del teatro, quella anti-ideologica della danza e della musica, la pregnanza del parlato e l’uso dei media come strumenti per la scena, sono gli elementi che si fondono nella didattica di Wirth 6 , insieme all’influenza di elementi presi dal Teatro Polacco di Grotowski 7 e dal Living 4 << Der theoretiker Brecht lässt grüßen: EUER THEATERMACHEN FÜHRT SO ZURÜCK AUF PRAKTISCHES. Nicht die Theorie hier und die Praxis drüben, sondern eine uniforme Theorie der Praxis, die Praxeologie. Eine Inszenierung, die sich selber reflektiert, Witkiewicz als Vorläufer des Absurden; Oxman als amerikanischer Familiendrama Beckett; Brecht als Vorläufer des terroristischen Diskurses. Versuche mit dem Fatzer – Lehrstück als eine interaktive Theaterform […] >>. Wirth, Andrzej, Lob der Dritten Sache, Jubilemsrede am Institut für ATW, 5/2003, p.3. 5 Riportato in: Briegleb, Till, Angewandt heisst Mit dem Kopf durch die Wand, op.cit., p.19. 6 Cfr. Wirth, Andrzej, The Lehrstück As Performance. In: The Drama Reviw, N. 43,4 (T 164), New York University and The Massachusetts Institute of technology, Winter 1999, pp. 113-119. 7 << Jerzy Grotowski (1933-), (was) the director of the Polish Laboratory Theatre. Founded in Opole in 1959, Grotowski’s company moved to Wroclaw (Breslau) in 1965 and was designated the Institute for Research in Acting. Until 196 Grotowski was little known, but subsequently his reputation mushroomed. […] Thus, is work can be divided in to two principal phases: before and after 1970. During the first phase, Grotowski began with the premise that the theatre has borrowed too heavily from other media, especially film and television, and thus has violated its own essence, to which he sought to return by eliminating everything not truly required by it: the actor and the audience. […] His system required that the actor gain absolute control over himself physically, so that during the performances he might completely transform himself as demanded by the production. […] According to Grotowski, actors should arouse a sense of wonder because they can go so far beyond what the spectators are able to do. In this early phase, Grotowsky looked upon the theatre as something like a ritual to which spectator-witnesses are admitted. He believed that the audience is the other essential ingredient of a performance and that it must be put in a position that permits it to play its role unselfconsciously. […] Therefore, for each production he decided how the audince should respond psychologically and then had the spatial arrangement designed to create the appropriate psychic distance. […] The ultimate aim was to make the actors and the audience confront themselves in something resembling a religious experience. […] By 1970 Grotowski had come to believe that his group had reached the end of its search for technical mastery and he decided to create no new productions. He realized that while his actors had been able to eliminate the blocks that stood in their way as performers, they had not broken down the blocks between performer and audience. He then set out to eliminate “the idea of theatre”, in the sense of an actor playing before an audience, and to find a way of incorporating spectators into the disarmament process >>. Brockett, Oscar G., History of the Theatre, Allyn and Bacon, Boston, 1982, pp.678-679.

Anteprima della Tesi di Ilaria Melchiorri

Anteprima della tesi: René Pollesch, Pagina 8

Tesi di Laurea

Facoltà: Lingue e Letterature Straniere

Autore: Ilaria Melchiorri Contatta »

Composta da 169 pagine.

 

Questa tesi ha raggiunto 1301 click dal 20/03/2004.

Disponibile in PDF, la consultazione è esclusivamente in formato digitale.