La bambola di Cagliostro. Una storia per immagini di Coppélia ou La Fille aux yeux d'émail

Concetta Lo Iacono

doi:10.6092/issn.2036-1599/3343

Authors

Concetta Lo Iacono
Professor of History of Dance at DAMS University of Roma Tre (on a contract basis since 1997, as researcher since 2005) she is a member of the Department of Philosophy and Performance. Graduated in Rome with Fedele d'Amico, she was fellow at GITIS in Moscow and has taught at the National Dance Academy from 1987 to 2004 and during the period 2004-2006 at Alma Mater Studiorum-University of Bologna (Master in Performance Studies - Dance course). She worked at I CIDIM Dance Yearbook and collaborated with Teatro dell’Opera, Teatro della Scala, Teatro Massimo for theater programs. She dedicated many essays to Italian dancer in XIX century and to the history of relations between Italy and Russia. She published an essay about ballet in Russia for UTET. Within the author's anthology The dancer actor (Audino) she has focused her enquire on the European Tanz theater (Pina Bausch).

DOI:

https://doi.org/10.6092/issn.2036-1599/3343

Abstract

Coppelia tells a story of significant and "disturbing" aspects: from Der Sandmann by ETA Hoffmann, inspired by Cagliostro’s alchemic mastery, to the obsessive eyes pattern repetition and characters division which inspire Freud in writing his pages. Literary references and iconographic links join together various “robot” section by Kleist’s vision of puppet "dancing without error" and by analizing Paris 1870 mise en scène and followings. The final images and video gallery summarizes the main reasons of contemporary interest for a Second French Empire ballet, reinvented on stage by modern choreographers fascinated by doll fetish qualities.

A picture story of Coppélia ou La Fille aux yeux d'émail

Authors

DOI:

Abstract

Downloads

Published

How to Cite

Issue

Section

License

Language

guidelines

Editorial Guidelines

Current Issue

facebook