Klopp, Charles. Sentences: The Memoirs and Letters of Italian Political Prisoners from Benvenuto Cellini to

Laurie Shepard, Aldo Toronto
unpublished
Recensioni if performed, figured as part of the festival's visual delight, Poliziano's words assuming preeminence only in an afterlife accorded the work by the printing press and erudite reader. The three essays on La figlia di Iorio, Gabriele d'Annunzio's rustie tragedy first produced in 1904, offer a rich portrait of the Italian theatrical, intellectual and artistic world at the turn of the century. A history of the production of the work, from its reading by d'Annunzio for the original cast
more » ... the original cast of actors and tragic recitation by Eleonora Duse in her bed when she realized that she would not play the part of Mila, to the present, is discussed in an essay by Enzo Zappulla. Zappulla's citation of letters and reviews bring immediacy and intimacy to his analysis. The tragedy met with enormous success, both in Italian and in the Sicilian translation by Giuseppe Antonio Borghese. The circumstances of the translation and first Sicilian production are described in " La figlia di Iorio di Gabriele d'Annunzio fra lingua e dialetto," by Sarah Zappulla Muscarà, who explores the linguistic qualities of the Borghese's version to explain its triumph. Paolo Puppa traces d'Annunzio's attitude towards the masses which evolved from distant hostility to the idealization of a people rooted in a mystic dynamism as the engine of the nation. La figlia di Iorio, Puppa argues, provides "a key for reconstructing one of the ideological underground movements that later flowed into Fascism: the nazional-populismo rurale, which rose out of the learned classes" (p. 179). Michetti is the most prominent influence on d'Annunzio, one of a host of artists and intellectuals who figure in this evocation of an intellectual era. Several other essays will interest the general reader as well as the specialist, including Anne Urbancic's "Cinematic Techniques and Stereotypes in the Stories of Annie Vivami," which describes the integration of the cinematic "eye" in Vivanti literary work and the writer's playful but wary appreciation for the seductive new medium. Three notable essays explore the stage as a forum to tackle and disentangle philosophical, aesthetic and psychological problems: Luca Somigli discusses the experimental theatre of Alberto Savinio, Debora Tihanyi focuses on Oskar Sclemmer's Bauhaus ballet, and Giuliana Sanguinetti Katz analyses the radical and riveting interpretation of Schoenberg's Freudian opera Erwartung by Lepage. Theatre and the Visual Arts reminds us that truly vital theatre presents and ponders our most complex social, philosophical and aesthetic questions. Prison writing constitutes a small yet significant part in the vast fabric of Italian literature. The writers examined in this volume were primarily members of an intellectual elite that was sent to prison not for having acted against the criminal code,-138
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