内容

目次

Preface 1. The Sixties. Theate - literature - music: manifestoes, querelles, intermedia 1963-1967 1.1. Fact and Atmosphere 1.2. Literature calls for a theater of dissent and experimentation 1.3. The querelle between literature and theatre: Gruppo `63 1.4. The actor is the poet of oral language: Pasolini's Manifesto 1.5. Theater at the center of society: The Ivrea Conference 1.6. Intermedia and Musical Theater 2. The Seventies (1968-1977): Setting Out 2.1. Leaving Behind Theaters, Plays, Roles 2.2. Theater to Change the World 2.3. In Search of a Common Base: the Manifesto of arte povera 2.4. The Van: Travel and Rest, Load and Unload 2.5. A Collective Book, a Body of Joy 2.6. Between 1968 and 1977: Action, Post-avant-garde, Third Theater 2.7. Implosive/Expansive 3. Between Death and Rebirth: the Eighties (1978-1988) 3.1. Unhappy Consciousness of the Late Seventies 3.2. Neo-avant-garde/Post-avant-garde/Postmodern/Trans-avant-garde 3.3. Postmodern: Metropolitan Landscape 3.4. Reflecting on Theory: Anthropology and Postmodern = Intercultural 3.5. Dawning: the Artwork Reborn 4. Ideology: A Bad Habit to Leave Behind. The Nineties (1989-1999) 4.1. Revisionism and Conciliation 4.2. Living in Transition. The Balance of "Pregress" 4.3. Being Posthumous 4.4. Televised Pre-theater Telling True Stories 4.5. Almost an epilogue 5. Liveness - Play - Frontality: the 2000s 5.1. Tragedy: End as Beginning 5.2. Project: Producing Intermedia 5.3. Dramaturgies of Diffuse Bodies 5.4. Reality Trend and Pop 5.5. Narrating by Elision and Detail 5.6. Play - Event - Scene 5.7. Confronting the Spectator 6. Dramaturgies of Spectacle and Literary text 6.1. Continuous and Discontinuous in New Theater 6.1.1 Tradition in New Theater 6.1.2. Cultures of Adoption and Orphancy 6.1.3. The Workshop as Mode of Production 6.1.4. Performance Text and Production Process 6.2. The Theatrical Vocation of Pier Paolo Pasolini 6.2.1. Experience 6.2.2. Towards Effective Theater 6.3. Testori: In the Belly of Theater 6.3.1. The Word become Flesh 6.3.2. Oedipus and Cleopatras: Theatre's Latrine 6.4. Franco Scaldati: An Enchanted Garden Where No One Dies 6.4.1. Fluid Texts Without Genealogy: Eternal Becoming 6.4.2. A Sensory Theater-World 6.4.3. Shadow-Double Marionettes 6.4.4. I Build Shadows 7. Dramaturgy of Space 7.1. Sensory-Motor Rupture 7.2. Dynamic Simultaneous Space 7.3. Audio-Chromatic Space 7.4. Analytic Space 7.5. Monitor Space 7.6. Landscape and Errancy 7.7. Constructing Space 7.8. Installation and Digital Space 8. Plural modes of the actor 8.1. Actor and theme: critical and methodological issues 8.2. Actor as collective body 8.3. Without language or subject: from the monolog to the solo 8.4. Blocking the body and freeing the voice 8.6. Word as event 8.7. Autofiction 8.8. Over-representing representation 8.9. Actor-machine-sculpture-animal-cyborg 8.10. Spectral amplitude of the performer 8.11. Audio body and actant a a