Dalla filologia alla teatrabilità, e ritorno: il ruolo del coro danzante negli spettacoli classici al Teatro greco di Siracusa tra il 1914 e il 1948

Giulia Bordignon

doi:10.6092/issn.2036-1599/11808

Authors

Giulia Bordignon Independent research

Giulia Bordignon is an independent researcher and former fellow in Classical reception studies at the Università Iuav of Venice. Her research interests include: afterlife of archaeological models in modern art history; iconology and cultural studies (Aby Warburg’s method); history and fortune of ancient drama. Among her publications: Riemersione del pathos dell’annientamento: Mnemosyne Atlas, Plate 41 in “Engramma” 157 (2018); (ed.) Scene dal mito: Iconologia del dramma Antico (Guaraldi, 2015); “Il rispetto dell’archeologia non è schiavitù”. Memoria dell’antico e urgenza del presente nell’opera di Duilio Cambellotti per il Teatro greco di Siracusa 1914-1948, in “Dioniso”, III (2014); "Musicista poeta danzatore e visionario". Forma e funzione del coro negli Spettacoli classici di Siracusa 1914-1948 (INDA, 2012).

DOI:

https://doi.org/10.6092/issn.2036-1599/11808

Abstract

In the open-air performances organised at the beginning of the 20^th century at the Greek theatre of Syracuse, one can appreciate the transformation from a melodrama-like performance to a “rhythmic” performance, with the addition of a dancing chorus to the chorus of actors. Documents and pictures preserved by the National Institute for Ancient Drama Archive witness a remarkable moment of experimentation for modern dance and particularly for Dalcroze’s eurhythmics. During the 1930s, the dancing chorus becomes an element of aesthetic and emotional amplification, and performances are characterized by a “voiding” of the significance of the poetic word, in favour of a perceptive appreciation of the performances. The performance of Oresteia in 1948 contrasts with this approach, restoring full importance for the poetic text.