#girgenti

[postcard-from-the-past]

Infanta María Isabel Francisca de Asís Cristina Francisca de Paula Dominga of Spain, Princess of Asturias, Countess of Girgenti

Spanish vintage postcard

[cmreisen]

Goethe am 30.04.1787 in Sizilien - Bald meine Photos von diesen Seiten hier?

#CMReisen #CMFreizeit #Goethe #Sizilien #April #ItalienischeReise #JohannWolfgangVonGoethe #Agrigento #Girgenti

Goethe war am 30.04.1787 in Sizilien. Bald meine Photos von diesen Seiten von der »Italienischen Reise« von Johann Wolfgang von Goethe hier? Und wart ihr nie in Agrigento, die auf der Zeit von Goethe den Name Girgenti hatte? Goethe war in Girgenti.

[geniogirgentano]

[agirlnamedbone]

Anna Girgenti in West Trade Review

[romanticism-art-history]

Ruins of the Temple of Juno at Girgenti Lancinia painted by Ferdinand Georg Waldmüller (1793 - 1865)

[ambrenoir]

Antonietta Portulano era affetta da "delirio paranoide" che la rendeva pericolosa per sé e per gli altri.

Per tale motivo fu rinchiusa in una clinica psichiatrica nel 1919 e ne uscì da morta nel 1959 , vale a dire che vi restò per ben 40 anni!

Sembra essere la storia di tante persone con la mente vacillante, se non fosse che la signora in questione era la moglie dello scrittore Luigi Pirandello, insignito del premio Nobel per la letteratura nel 1934

Sul dramma della moglie il silenzio di Pirandello fu sempre totale. Nei primi tempi andava spesso a farle visita, ma ne usciva sconvolto per cui smise di andarvi, raccomandando , però , sempre ai 3 figli di andare a trovare la madre.

La sua mente si rifiutava di riconoscere in quella donna insana di mente la ragazza di che aveva sposato dietro consiglio di suo padre e che gli aveva dato ben tre figli.

Per tale motivo la sua fu una vita da fuggiasco:

fuggiva per l'Italia e per il mondo per motivi di lavoro, ma soprattutto fuggiva dalle nebbie della follia che avvolgevano la mente di Antonietta.

La tragedia di sua moglie lo rese uno degli uomini più tormentati della terra e solo la responsabilità dei figli gli impedì di fare il terribile gesto a cui spesso pensava.

Egli stesso non si riconosceva più e faceva fatica a trovare una posizione sociale, anche perché afflitto perennemente da problemi economici. E questo disagio lo riversava anche nelle sue opere, i cui personaggi riflettono, infatti, i tanti dubbi esistenziali che furono i suoi.

Dopo anni di sofferenze e di mal di vivere Pirandello il 10 dicembre del 1936, all'età di 69, morì per una polmonite.

Il regime fascista avrebbe voluto esequie di Stato, ma lo scrittore aveva lasciato precise volontà scritte sulla sua morte nelle quali diceva: " Sia lasciata passare in silenzio la mia morte. Né annunci, né partecipazioni. Non mi si vesta, mi si avvolga nudo in un lenzuolo e niente fiori sul letto e nessun cero acceso.

Carro d'infima classe, quello dei poveri e nessuno mi accompagni...

Bruciate e disperdete le mie ceneri, se questo non si può fare l'urna cineraria sia portata nella campagna di Girgenti. "

Il giorno del suo funerale, pertanto, davanti alla sua casa si vide un misero cavallo con attaccato un carro poverissimo dove fu depositata una bara altrettanto povera.

I pochi amici che erano andati a salutarlo rimasero al cancello guardandolo andar via.

Il grande scrittore parti' solo per il grande viaggio, fu cremato e le sue ceneri furono tumulate al Verano di Roma.

Solo nel 1947 lo scrittore Andrea Camilleri si attivo' perché le ceneri di Pirandello fossero seppellite nel giardino della villa di contrada Caos, dove egli era nato e dove egli voleva che fossero.

* * * * *

"Prima di giudicare la mia vita o il mio carattere, metti le mie scarpe e percorri il cammino che ho percorso io"...

Questo il profondo monito dello scrittore.

Tratto da pagina FB

[beatricecenci]

Ferdinand Georg Waldmüller (Austrian, 1793-1865)

Ruinen des Tempels der Juno Lancinia bei Girgenti

[rogerriddle]

Albert Racinet's "Polychrome Ornament," 1869 PLATE VI. GREEK AND GRECO-ROMAN ANTIQUITIES: SPECIMENS OF POLYCHROMATIC DECORATION.

THE accompanying plate contains numerous specimens of polychromatic decoration, taken from various periods of Greek Art, commencing from the date of the monuments in AEgina, or the Parthenon, down to that which may be called the Greco-Roman period. The colours are copied from sketches by the most competent artists. The following is a list of the subjects in the plate, Virith references to the authorities from which they are selected :-

Nos. 1, 2, 3.-Frieze and corona ornaments, from the restoration of the Parthenon, by M. Paccard. (Ecole des Beaux-­Arts ; Roman section.) No. 4.-Ornaments from the frieze of the Temple of tho Wingless Victory at Athens. (Lebas, Voyage archeologie en Grece et en Asie Mineure, I., pl. 8, No. 1.) No, 5.-Ancient fragment from a panel of a corona. (Lebas, id., II., pl. 6, No. 1.) No. G.-Antefixae from the Temple of the Wingless Victory. (Lebas, id,, I., pl. G.) Nos. 7, 8, 9.-Ancient fragments from different monuments at Athens. (Lebas, id., I., pl. 8, No. 4 ; II., pl. 5, Nos. 1 and 11.) No. 10.-Decorations over the entrance to the Temple of :Minerva Polias at Athens, from the restoration of that monument by M. Tetas. (Ecole des Beaux-Arts: Roman section.) No.11.-Frieze ornament on the Temple at Paestum, from the restoration by M. Thomas. (Ecole des Beaux-Arts: Roman section.) Nos. 12, 13.-Ornament on the Temple of Jupiter Panhellenius, at AEgina, from the restoration by M. Garnier. Exterior (12); interior (13). (Ecole des Beaux-Arts: Roman section.) No. 14,-Star from the Propylaea. (Lebas, Hittorff, etc.) No. 15.-Cymatium, forming a gutter, found among the ruins of a temple at Metapontum. (Metaponte, par M, le due de Luynes et F. S. Debacq, pl. 7.) No. 16. -Face and soffit of an ornament in earthenware, serving as a covering for a beam, found at Metapontum. (Id., pl. 8.) No. 17 . -Painted mouldings. (Hittorff, Architechire polychrome chez les Grecs, pl. 9, fig. 10, p. 767 .) Nos. 18, 19.-Vitruvian scrolls. Nos. 20, 21. -Meanders. No. 22. -Painted ornaments on a sarcophagus found at Girgenti. (Hittorff, Architechire polycrome, pl. 9, p. 767.) No. 23. -Coping of wall, and ceiling in the Temple of Nemesis at Rhamnus, (Hittorff, icl., pl. 10, fig. 9, p. 768.) No. 24.-Fragment of mosaic-work found in Sicily. (Hittorff, id., pl. 5, fig. 5, p. 761.) Nos. 25, 26, 27, 29.-Interlaced ornaments. (Greco-Roman style.) No. 28.-Meanders. (Greco-Roman style.) Nos. 30, 31, 32, 33.-Ornaments in terra-cotta found at Pallazolle (Hittor:ff, pl. 7, fig. 1, 2, 3, p. 764), with the colour­ing given by the same author in his restoration of the Temple of Empedocles (pl. 2.) No. 34.-Ornaments. (The same restoration, pl. 3.) No. 35.-Palm leaves.

[microcosme11]

Joachim Murat learns in 1815 of Napoleon's defeat, Paolino Girgenti. It looks like Murat is on the left looking at sad Napoleon. Makes no realistic sense but whatever.

flickr via pinterest

[archduchessofnowhere]

THE ROYAL BAPTISM AT THE PALAZZO FARNESE

Rome, 29 December 1869

I have just left the Farnese Palace, and I really believe that one can say without exaggeration: Naples is no longer in Naples; it is all in Rome today.

It is doubtful indeed that, even in the middle of his capital, Francis II would have seen himself surrounded by a crowd more numerous and better representing, not only the elite, but all the ranks of the nation of which he is the legitimate sovereign.

Certainly more magnificent pomp could have shone in Naples around the royal cradle. But first of all, could the young princess have hoped to have more august godparents before God and at her entry into the Christian life? The Holy Father, the first and greatest of the world's monarchs, the very Vicar of Our Lord Jesus Christ, and in whom the crown of suffering and misfortune heroically borne is added to the majesty of the tiara and the halo of sanctity; The Empress of Austria, who occupied the throne of the Habsburgs and whose sister was that great and pious Queen whom the people, anticipating in some way the judgment of the Church, like to proclaim "the Saint".

(...) The birth of the princess was a universal joy in the kingdom, and for two or three days hundreds of the most eminent people flocked to Rome. At the same time all the trains brought deputations chosen by each province and which the Piedmontese government allowed to pass, for want of being able to oppose a movement which was the expression of popular feeling.

From noon onwards, the vast halls of the Farnese Palace, which is one of the wonders of Rome and has few rivals in Europe, were filled with an enormous audience, composed almost exclusively of Neapolitans. Hardly the Senator of Rome and some Roman princes had been invited. The King, who, like all Bourbons, identifies his family with his country, had wished to be surrounded, with very few exceptions, only by his subjects and servants.

(...) With a delicacy worthy of his great heart, the King had asked the Bishops of the monarchy present in Rome to abstain from appearing at the ceremony: it was not necessary that a mark of religious fidelity should excite against the Episcopate of Naples the passions already so violent of Unitarianism and of the Revolution. On the other hand, fourteen Cardinals had come to pay homage to the majesty of right and wrong.

The number of young men mixed with the defenders who had been whitened in the service of the monarchy was particularly gratifying. After so long an exile, and in the midst of the temptations and seductions which are not spared, the presence and confidence of this generation, which is only just being born into public life, is a most favourable omen. Tradition is perpetuated, and hereditary devotion offers the Crown renewed phalanxes.

All the hope and all the future are there.

The Holy Father was represented by Cardinal Antonelli; the Empress Maria Anna, the godmother, was represented by Her Majesty the Empress [Elisabeth] of Austria, brilliant in beauty, grace, elegance and dignity. The procession of the princes was composed of H. M. the King of the Two Sicilies, H.R.H. the Duke and Duchess of Parma, H.I.H. and RR. the Grand Duke and Grand Duchess of Tuscany, H.R.H. the Count and Countess of Caserta, the Count and Countess of Girgenti, the Duke and Duchess of Alençon, the Duke of Bari and Princess Maria Immacolata, the Count and Countess of Trapani, the Prince their son and the two Princesses their daughters, the Prince of Hohenzollern.

The altar stood in the room decorated with the magnificent paintings of Salviati.

The young princess was carried on the arms of the Duchess of San Cesario. It was a touching honour for the illustrious and courageous Grand Mistress of the Palace, whose name is inseparably linked to that of the heroine of Gaeta and who deserved to receive the medal of that forever memorable siege; it was a touching honour for her to hold before the sacred font the royal child whose birth has just thrown a lightning bolt of happiness on the fortunes she has nobly shared.

S. Cardinal Patrizi performed the ceremonies and gave the young princess the names of Christina-Pia-Maria-Anna-Elisabetha-Natalina-Ephisa. The Neapolitan nurse in the magnificent costume of the women of her country, from the mountains of Avellino, was noted with interest near the font. These national clothes had a charm and a high significance in the midst of the brilliant finery of the great ladies and the insignia of the court figures.

The princess carried the magnificent christening gown, made of white lace, a gift from three hundred Neapolitan ladies, a masterpiece of taste and a guarantee of fidelity.

After the ceremony, the procession reformed. The Empress, the King, the Princes and Princesses went to the salons. The new Christian was brought to her august mother, whose emotion was deep. The Queen, with tears in her eyes, instructed the Duchess of San Cesario to thank all the faithful Neapolitans who had given, on this occasion, proof of a devotion that survives time, trials and persecutions. The Queen's emotion was so strong that duchess had to withdraw so as not to prolong its duration.

And, in fact, nothing honours a people and touches the hearts of sovereigns like these testimonies of a constancy above all perils, all perils and all sufferings.

The King was radiant with happiness. After ten years of proscription and in the midst of the joys of fatherhood, to find near him the servants who had been the companions of his misfortunes; to see a new generation rising up in the cult of right and duty; to receive the wishes of an entire people who aspire to become free again and to reconquer their nationality and their dynasty: what a consolation, and above all what hope!

Here, then, is at last a dawn of prosperity rising over the House of Bourbon and the kingdom of Naples! It is the harbinger of an even more beautiful day; it is the sign of a forthcoming triumph of good Law and Justice.

De Riancey, Henri (1870). Lettres sur Rome (Translation done by DeepL. Please keep in mind that in a machine translation a lot of nuance may/will be lost)

[thegreenwallrabbit-blog]

Explaining one of VTMB paintings (pt 9)

Cain Killing Abel oil on canvas (Second quarter of 17th century) by Pietro Novelli 

Pietro Novelli (March 2, 1603 – August 27, 1647) was an Italian painter of the Baroque period, active mainly in Palermo. He was born in Monreale, and died in Palermo. He initially trained with his father, a painter and mosaicist. His father died in 1625 from the bubonic plague.[2]As a young apprentice he was a fellow pupil with Gerardo Asturino.[3] In 1618, he moved to Palermo and apprenticed with Vito Carrera (1555–1623). His first dated work is from 1626: St. Anthony Abbot for the church of Sant'Antonio Abate in Palermo. The development of his style owed much to Anthony van Dyck, who visited Sicily in 1624 and whose altarpiece, the Madonna of the Rosary in the oratory of Santa Maria del Rosario in Palermo was highly influential for local artists. He was also commissioned works and paintings for many churches in Piana degli Albanesi, and various works to adorn the villas of the Sicilian nobility. Other influences on Novelli were the Caravaggisti or tenebrists active in Naples (for example, Ribera). Novelli also painted for the church of Santa Zita in Monreale, and painted a Marriage of Cana for the refectory of the Benedictines in Monreale.He was injured during the revolution in Palermo in 1647, and died from his wounds.[4] His pupils included Andrea Carreca, Francesco Maggiotto, Francesco Giselli, Michele Blasco, Vincenzo Marchese, Giacomo lo Verde, and Macri da Girgenti. He was also an architect and stage set designer. [1]

The term Baroque probably ultimately derived from the Italian word barocco, which philosophers used during the Middle Ages to describe an obstacle in schematic logic. Subsequently the word came to denote any contorted idea or involuted process of thought. Another possible source is the Portuguese word barroco (Spanish barrueco), used to describe an irregular or imperfectly shaped pearl, and this usage still survives in the jeweler’s term baroque pearl. Baroque art and architecture refers to the visual arts and building design and construction produced during the era in the history of Western art that roughly coincides with the 17th century. The earliest manifestations, which occurred in Italy, date from the latter decades of the 16th century, while in some regions, notably Germany and colonial South America, certain culminating achievements of Baroque did not occur until the 18th century. The work that distinguishes the Baroque period is stylistically complex, even contradictory. In general, however, the desire to evoke emotional states by appealing to the senses, often in dramatic ways, underlies its manifestations. Some of the qualities most frequently associated with the Baroque are grandeur, sensuous richness, drama, vitality, movement, tension, emotional exuberance, and a tendency to blur distinctions between the various arts. [2]

Below is an explanation of the Cain and Able story from real life and in the context of VTM. This is the same for all the Explained Cain slaying Able paintings in VTMB posts I’ve done so feel free to skip if you’ve already read this as it’s long.

___________________________________________________________

The tale of Cain murdering his brother Able are nearly identical in Jewish, Christian and Islamic texts with the oldest known version coming from the Dead Sea Scroll from the first century BCE. Cain was the the first born son of Adam and Eve and became a Farmer while Able was the second born son and became a shepherd. Both brothers made sacrifices to God, but God favored Abel's sacrifice instead of Cain's. In Islam the reason for their offerings is to decide which brother would marry Adam and Even’s first daughter who was also Cain’s twin sister. Able also had a twin sister and Adam wanted the brothers to marry the others twin. In multiple religions each brother has a twin sister but there is no consistently with the names as Cain’s twin sister being named Aclima, Kalmana, Lusia, Cainan, Luluwa, or Awan, and  Able’s twin sister is named Jumella, Balbira or to make it more confusing Aclima (though even when she is called this Able’s twin sister is never the one the brothers are competing to marry) depending on the source. In the Islamic text Able’s offers his fattest sheep while Cain offered only a bunch of grass and some worthless seeds. In Jewish and Christian texts the reason for the sacrifices and the exact nature of their offerings are merely described as the first born of Ables heard and products from Cain’s fields.[3] The most description we get is in Genesis when God sees that Cain is upset that his offering was not chosen God tells Cain “: Why are you angry? Why are you dejected? If you act rightly, you will be accepted; but if not, sin lies in wait at the door: its urge is for you, yet you can rule over it.”(Genesis 4:6-7)  Cain then told Able to meet him in his fields where he then murdered his brother out of jealousy by hitting Abel in the head with a stone. When God asks Cain where his brother Cain, “I do not know! he answered. Am I my brother’s keeper?”(Genesis 4:9) to which God replies   “What have you done! The voice of your brother’s blood is calling to me from the ground. From now on you’ll get nothing but curses from this ground; you’ll be driven from this ground that has opened its arms to receive the blood of your murdered brother. You’ll farm this ground, but it will no longer give you its best. You’ll be a homeless wanderer on Earth.” (Genesis 4:10-12)  When Cain objects saying the punishment is to great and that whoever finds him wandering shall kill him which then God says “No. Anyone who kills Cain will pay for it seven times over.” God put a mark on Cain to protect him so that no one who met him would kill him.” (Genesis 4:15). Cain then leaves east of Eden to wander in No-Mans-Land with his wife (who is not named in Genesis but is assumed to be his Twin sister in all tellings regardless of what name is given to her). Their first born Child was named Enoch, and Cain named the first city he built after his son. After Abel’s Death Adam and Eve had a Third son named Seth and when eve gave birth to him Eve said “God has given me another child in place of Abel whom Cain killed.”(Genisis 4:25-26). In some texts Seths wife and sister is named Azura. Their son is named Enosh it is through Seth’s line that humanity stems from, though both Cain and Seth had multiple decedents and confusingly used the same names (see family tree below). None of Cain’s decedents suffered the curse of their father Cain but where still seen as sinful and apart from God and where killed in the great flood. How Cain died is not as an agreed upon topic. He was ether crushed to death by the stone house he built, an irony as he used a stone to slay his brother or in some versions part of the Mark of Cain had him grow horns and his descendent Lamech (not to be confused with Lamech who decedent from Seth and was the father of Noah) who was a blacksmith and had two wives(this is viewed as sinful) killed him mistaking him for a wild animal and killed his own son Tubal-cain in the process.

While in the lore of Vampire the Masquerade the tale of Cain killing his brother able as told in the Book of Nod stick to the original tale regarding the murder of Able but starts to differ in God’s punishment. "Father" cursed him with a mark, and cast him out to wander in darkness in the Land of Nod alone. There is no mention of a wife or if he was still cursed to be unable to farm however it is clear that Cain was not  yet cursed to be a vampire by God. The Land of Nod was a place of utter darkness, with no source of light, where Caine was afraid and alone. There he found Lilith where they began a relationship and Cain realized that she possessed magical power and begged her to share them with him. While hesitant Lilith prepares an Awakening ceremony by cutting herself with a knife, bleeding into a bowl, and giving it to him so that he may drink. After Caine partakes of Lilith's blood, he is visited by three angels who are agents of God. Each angel offers Caine a chance to repent for the murder of Abel, but Caine rebuffed them out of pride. Michael, when denied, cursed Caine and his childer to fear his living flame. Raphael cursed Caine and his childer to fear the dawn, as the sun's rays would burn like fire. Uriel then cursed Caine and his childer to cling to Darkness, drink only blood, eat only ashes, and be frozen at the point of death, cursed so all they touch would crumble into nothing. A fourth angel, Gabriel, then appeared to offer the way of Golconda, the only way to "light", by the mercy of God. After the experience, Caine becomes officially "Awakened", possessing the following Disciplines: Celerity, Potence, Fortitude, Obfuscate, Dominate, Presence, Protean, Animalism, and Auspex. Caine then became aware of the Path of Blood, the Final Path from which all paths stem. And with all these powers, but now being cursed to be a vampire he breaks his bond with Lilith and leaves her.[3] While Cain never biologically fathers any children it is clear that their names of those he embraced and their decedents are inspired by the biblical names in his line though with massive changes. For instance the first city is founded by Cain in the land of Nod and and called Ubar and is explicitly stated to be settled by “Children of Seth” with the human king being Enoch at the time Cain settles there. Enoch still becomes his son as he is embraced by Cain. Another example of the reuse of a biblical name of Cain’s line is Zillah (which in Hebrew means shade or protection). In the original story she is one of Lamech(decedent of Cain) two wives( the other named Adah). After both wives discover that Lamech unwittingly kills Tubal-Cain(one of Lamech and Zillah’s sons) they both refuse to have sex with him because of the deaths he caused, on the pretext that they do not desire to give birth to cursed offspring. The three go together to the tribunal of Adam; Adam rules that they must obey their husband since he killed unwittingly. This midrashic tradition portrays Adah and Zillah as respected women, whose position is considered in all seriousness by the court. [4] In VTM Zillah was a human woman who lived in Udar so beautiful, Caine could not resist the Embrace. According to Nosferatu Zillah is the one of Cain’s second generation who sired their Antediluvian. Interestingly, even after the Embrace, Zillah did not desire him. It frustrated Caine to the point that he was ripping his hair out of his head. He did anything and everything to make her desire him. Yet, she would not have him. Finally, Caine sought the Crone's magic, who ultimately tricked him into a blood bond, she forced the First Vampire to Embrace her. The Crone sent her new thrall away, telling him that his blood would have the power to bond others as Caine himself was bonded to the Crone. The discovery of the blood bond was what finally made Zillah agree to marry her sire Caine. [3]

[1]“Pietro Novelli .” Wikipedia, Wikimedia Foundation, 14 Nov. 2022, https://en.wikipedia.org/wiki/Pietro_Novelli. 

[2]“Baroque Art and Architecture .” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/art/Baroque-art-and-architecture. 

[3] “Caine.” White Wolf Wiki, https://whitewolf.fandom.com/wiki/Caine.

[4] Kadari, Tamar. “Zillah: Midrash and Aggadah .” Jewish Women's Archive, https://jwa.org/encyclopedia/article/zillah-midrash-and-aggadah#:~:text=Zillah%20was%20a%20wife%20of,he%20unwittingly%20kills%20Tubal%2DCain.

[granmirci]

Ritratto di uomo (Antonello da Messina)

Beato Matteo da Girgenti?

[geniogirgentano]

Sabato 29 giugno 2024, alle ore 10 circa, in occasione delle celebrazioni per la nascita di Luigi Pirandello, nato a Girgenti il 28 giugno 1867, verrà riaperta la cappella gentilizia di Calogero Portolano, suocero di Pirandello.

La pagina Facebook Microstorie di Girgenti seguirà in diretta l'evento.

[chez-mimich]

LA STRANEZZA

Mettere il teatro dentro un film è sempre un grande rischio sia per lo sceneggiatore sia per il regista. Ci hanno provato in molti e ci sono riusciti in pochi perché il teatro è una cosa e il cinema un’altra. Questa volta ci ha provato Roberto Andò con il suo ultimo film “La stranezza”, in questi giorni nelle sale, incentrato sulla tragicommedia che due “becchini” di Girgenti tentano di mettere in scena nel teatro locale. Ma il destino vuole che in platea capiti uno spettatore illustre, Luigi Pirandello, tornato nella città natale per il compleanno di Giovanni Verga, che coincide con la morte della sua vecchia balia, fatto che favorisce l’incontro del “Maestro”con Nofrio e Bastiano (interpretati da Salvatore Ficarra e Valentino Picone). I preparativi per la messa in scena della sgangherata “La trincea del rimorso ovvero Cicciareddu e Pietruzzu” sono tragici e comici, esattamente come ciò che deve essere rappresentato e in più vicende sentimentali e personali si inseriscono sulla scena (e sulla messa in scena). Pirandello è testimone e convitato di pietra al tempo stesso: meditabondo e scettico, fascinoso e misterioso, sembra trarre ispirazione da quella compagnia di guitti, ma soprattutto dal mescolarsi di invenzione scenica e realtà, per scrivere poi il suo più noto capolavoro, quei “Sei personaggi in cerca d’autore” che segnerà ,nella storia del teatro, l’abbattimento della cosiddetta “quarta parete” e contemporaneamente l’inizio di tante sperimentazioni teatrali, non solo in Italia. Sembra che Toni Servillo, attore di teatro, abbia cominciato a prenderci gusto a fare anche l’attore di cinema, ma soprattutto a fare un attore di cinema che interpreta personaggi del teatro. Ricordiamo la sua interpretazione di Eduardo De Filippo in “Qui rido io”, di Mario Martone, che guarda caso è a suo volta un mostro sacro della regia teatrale. E allora questo continuo gioco di rimandi tra cinema e teatro significa forse che i registi e gli attori teatrali si sono stufati del teatro? Certo che è molto più raro vedere una trasposizione teatrale di una vicenda scritta per il cinema che non il contrario. Anche su questo, il bel film di Roberto Andò, indirettamente, ci costringe ad interrogarci. Ma il film ci fa soprattutto riflettere sul genio pirandelliano e, stavo per dire, anche sulla inutilità di tanta presunta avanguardia teatrale, senza fare nomi, altrimenti perderei metà dei miei followers. Andò è un regista attento, colto e certamente riesce nell’impresa di non far annoiare lo spettatore cinematografico e , al tempo stesso, di non fare innervosire lo spettatore teatrale. Lo fa anche con parecchie citazioni a cominciare dalla scelta di due comici come protagonisti, Ficarra e Picone appunto, che non possono non rimandare direttamente a Ciccio e Franco mattatori ne “La giara” pirandelliana, rivista in chiave cinematografica, anni fa, dai fratelli Taviani. Prova superata con voti pieni, ma senza lode, solo perché il teatro è il teatro e il cinema è il cinema…

[siciliatv]

Centro storico di Agrigento, “Terravecchia di Girgenti": sopralluogo per l’avvio dei lavori di riqualificazione

Centro storico di Agrigento, “Terravecchia di Girgenti": sopralluogo per l’avvio dei lavori di riqualificazione In questi giorni è stato effettuato il primo sopralluogo tecnico nelle aree interessate dal... #SiciliaTV #SiciliaTvNotiziario Read the full article