The ‘game’ of theatre has been played for centuries, in schools and universities, and more frequently in the past century. The major festival of classical productions in Italy (held at the Greek theatre of Syracuse since 1914) was based on pedagogical experiments previously tested with students, for instance by Ettore Romagnoli in Padua University.1 The recent and successful experiments produced by the Istituto Nazionale Dramma Antico (INDA) – such as Oedipus Rex, directed by Robert Carsen, in 2022 –2 have included young and talented students of the local drama school. The same happens in minor productions outside Syracuse, in ancient or modern Italian theatres, or in suburban, small and unconventional sites. Most Italian high schools have theatre classes, and many focus on the classics. Workshops with children and teenagers are increasingly important for professional companies. Moreover, some Italian companies who have worked together for years, especially with youngsters, choose the chorus as their distinctive feature, and focus on collective productions, including adaptations of ancient dramas.5 Our main case study is one of these, the Teatro delle Albe (Ravenna) a unique example of ‘community theatre’ in Italy, founded in 1983 by Marco Martinelli, Ermanna Montanari, Luigi Dadina, and Marcella Nonni.
Playing Classical Drama – “Young” Theatre Festivals and the “Non-school” of Ravenna, 2024-11-14.
Playing Classical Drama – “Young” Theatre Festivals and the “Non-school” of Ravenna
treu
2024-11-14
Abstract
The ‘game’ of theatre has been played for centuries, in schools and universities, and more frequently in the past century. The major festival of classical productions in Italy (held at the Greek theatre of Syracuse since 1914) was based on pedagogical experiments previously tested with students, for instance by Ettore Romagnoli in Padua University.1 The recent and successful experiments produced by the Istituto Nazionale Dramma Antico (INDA) – such as Oedipus Rex, directed by Robert Carsen, in 2022 –2 have included young and talented students of the local drama school. The same happens in minor productions outside Syracuse, in ancient or modern Italian theatres, or in suburban, small and unconventional sites. Most Italian high schools have theatre classes, and many focus on the classics. Workshops with children and teenagers are increasingly important for professional companies. Moreover, some Italian companies who have worked together for years, especially with youngsters, choose the chorus as their distinctive feature, and focus on collective productions, including adaptations of ancient dramas.5 Our main case study is one of these, the Teatro delle Albe (Ravenna) a unique example of ‘community theatre’ in Italy, founded in 1983 by Marco Martinelli, Ermanna Montanari, Luigi Dadina, and Marcella Nonni.File | Dimensione | Formato | |
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