Sicilianità 'greca' e italianità alla vigilia della Grande Guerra. Il caso dell'Agamennone

Autori

DOI:

https://doi.org/10.15162/2465-0951/1094

Parole chiave:

Classical Reception, Greek Tragedy Reception, Twentieth Century Literature and Theatre, Italian Theatre, Aeschylus' Agamemnon

Abstract

At the eve of the Great War, on the 16th of April of 1914 at sunset, a group of around a hundred people, from actors to musicians and dancers mounted the stage of the Greek theatre of Syracuse (Sicily), a two-thousand-five-hundred-year-old theatre, to enact a tragedy just equally old: Aeschylus’ Agamemnon. Not only did this production revisit the tragedy in a unique environment and represent one of its first rehashes in Italy; it also inaugurated a now more than a-hundred-year-old Festival, the longest running festival of ancient drama. In this paper, I am going to talk about the powers at play in the staging of Agamemnon: a strong nationalism was combined with a cosmopolitan attitude, a combination that grounded another project which became culturally and politically relevant so as to inform INDA’s beginnings, Gabriele D’Annunzio’s Latin-Mediterranean theatre.

Biografia autore

Giovanna Di Martino, University of Oxford

St. Hilda's College

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Pubblicato

2019-05-29

Fascicolo

Sezione

The Old Lie. I classici e la Grande Guerra - a cura di Roberta Berardi, Nicoletta Bruno, Anna Busetto, Luisa Fizzarotti