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ჯორჯო სტრელერის ევროპული სათეატრო იდენტობა
Date Issued
2020
Author(s)
Advisor(s)
Reviewer(s)
Abstract
The research "Giorgio Stehler's European Theatrical Identity" is the study of the work of italian director Giorgio Strehler and includes analyzing current trends in Italy from the years of World War II to the 90’s of the last century. In this period there were great theatrical reforms in Italy. A new profession, theatre directing, has been founded. Artistic tendencies have been changed in terms of performing performance. New theatrical forms developed. Reflecting on the political and economic crisis in the country is a significant factor. Like other western European theaters, the Italian theatre has become a mirror of modern society and its problems. Idea-conceptual side meant the main force of the play and the director was the figure of this process. In the research we tried to present the main creative processes, which brought the Italian theatre back to the European art platform and took a decent place. Obviously, these changes have not started in one day and are not easily developed. Our task was to research and analyze these processes. As we noted in the beginning, the work covers 50 years of Italy's hard period with great cataclysms and difficult years. Accordingly, theatrical life is characterized by varied and often changing tendencies. This can be somewhat positively evaluated because it was full of many experiments and creative researches.
During the study, the specificity of the Italian theatre was characteristic and regardless of the global outlook, it can still be considered an original theatrical art.
On the basis of evolution of creative processes, the theatre technical base has been greatly developed. Particularly for the first period there were difficult to buy a technical inventory and then maintain it. The novice actors were actually trying to work on enthusiasm.
The establishment of the Piccolo Theatre was a kind of push in order to revitalize the life of Italy and this push was even the basis for artistic researches. Many artists have created a similar theatre in different cities. This initiative spread throughout Italy. Of course, some of the theatre did not endure a number of problems that could be created by the newly created troupes and soon afterwards, but the tendency to arrive at the municipal theatre has promoted the development of this field of art.
The main purpose of the theatre was to head Giorgio Strehler's audience and his interests. The director created performances for the audience only, to awake the public up and to talk about the problems with them. The director provided the public with intellectual values and endured trials, but did not forget about the problems and tried to take part in the action. The director knew exactly what was the priority for the italian people and how it should be given to the subjects that were so important to them. Thus, Giorgio Strehler was formed as a director-citizen figure.
In the research is reviewed 20 performances, in total noted 37 performances. While working we were basing on the video recordings of the performances, the theoretical thesis of the theatre researchers, the press, the video interviews and the programs, as well as the Strehler’s personal correspondences and the recordings of various performances. The thesis is used in G. Strehler, Bernard Dort, Aleksey Jivilegov, Svetlana Bushuaeva, Luigi Lunari, Ugo Ronffani, Flavia Foradini and others. Also the publications of the Piccolo Theatre Archive: Alerto Bentoglio, Luigi Luccianini, Eugenio Ferdinando Palmieri and others. Most of all research is based on the letters written by the director himself, personal correspondence and reviews. Therefore, we tried to analyze the director's creativity through the analysis of the authors and critics of the performance. Analysis of each performance is presented in every review.
It should also be noted that there is lack of information about the early performances, or there is no newspaper article or we could find out one or two essays written by the director. Lack of material determines the imperfect analysis of a specific performance or event. While working on the topic, I mainly used comparative and socio-cultural analysis, qualitative and inductive and deductive methods, as well as the principle of history.
As a result of the research, the factor of nationalism, its identity and interconnection in the context of globalization with other countries has been identified. Intensifying the functional significance of the theatre on the ongoing processes in the country.
As a result of the research, certain trends have emerged, based on modern italian theatre: socio-humanist ideology; theatre, as a spectacular and synthetic art, in which any input is an important factor for the performance.
The present work is the first attempt to research the theatrical processes in Western Europe in twentieth century, especially in Italy and on the example of Giorgio Strehler, in modern Georgian theatre studies.
During the study, the specificity of the Italian theatre was characteristic and regardless of the global outlook, it can still be considered an original theatrical art.
On the basis of evolution of creative processes, the theatre technical base has been greatly developed. Particularly for the first period there were difficult to buy a technical inventory and then maintain it. The novice actors were actually trying to work on enthusiasm.
The establishment of the Piccolo Theatre was a kind of push in order to revitalize the life of Italy and this push was even the basis for artistic researches. Many artists have created a similar theatre in different cities. This initiative spread throughout Italy. Of course, some of the theatre did not endure a number of problems that could be created by the newly created troupes and soon afterwards, but the tendency to arrive at the municipal theatre has promoted the development of this field of art.
The main purpose of the theatre was to head Giorgio Strehler's audience and his interests. The director created performances for the audience only, to awake the public up and to talk about the problems with them. The director provided the public with intellectual values and endured trials, but did not forget about the problems and tried to take part in the action. The director knew exactly what was the priority for the italian people and how it should be given to the subjects that were so important to them. Thus, Giorgio Strehler was formed as a director-citizen figure.
In the research is reviewed 20 performances, in total noted 37 performances. While working we were basing on the video recordings of the performances, the theoretical thesis of the theatre researchers, the press, the video interviews and the programs, as well as the Strehler’s personal correspondences and the recordings of various performances. The thesis is used in G. Strehler, Bernard Dort, Aleksey Jivilegov, Svetlana Bushuaeva, Luigi Lunari, Ugo Ronffani, Flavia Foradini and others. Also the publications of the Piccolo Theatre Archive: Alerto Bentoglio, Luigi Luccianini, Eugenio Ferdinando Palmieri and others. Most of all research is based on the letters written by the director himself, personal correspondence and reviews. Therefore, we tried to analyze the director's creativity through the analysis of the authors and critics of the performance. Analysis of each performance is presented in every review.
It should also be noted that there is lack of information about the early performances, or there is no newspaper article or we could find out one or two essays written by the director. Lack of material determines the imperfect analysis of a specific performance or event. While working on the topic, I mainly used comparative and socio-cultural analysis, qualitative and inductive and deductive methods, as well as the principle of history.
As a result of the research, the factor of nationalism, its identity and interconnection in the context of globalization with other countries has been identified. Intensifying the functional significance of the theatre on the ongoing processes in the country.
As a result of the research, certain trends have emerged, based on modern italian theatre: socio-humanist ideology; theatre, as a spectacular and synthetic art, in which any input is an important factor for the performance.
The present work is the first attempt to research the theatrical processes in Western Europe in twentieth century, especially in Italy and on the example of Giorgio Strehler, in modern Georgian theatre studies.
Degree Name
ხელოვნებათმცოდნეობის დოქტორი (PhD)
Degree Discipline
ხელოვნებათმცოდნეობითი კვლევები - თეატრმცოდნეობა „მსოფლიო თეატრი - ეპოქები, ეტაპები, ასპექტები“
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Tamar Mukeria Disertatsia.pdf
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ჯორჯო სტრელერის ევროპული სათეატრო იდენტობა
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