Results found: 2

Search results

Search:
in the keywords: Saint Francis

Sort By:

Limit search:

Virgilio, le streghe e la sposa di San Francesco nella "Divina Commedia"

100%

Balducci M. A.

Italica Wratislaviensia

2021

issue 12.2

131-147

Through the hermeneutic-symbolic study of the Dantean figures of Virgil, the witches Manto and Erichto, and the mysterious woman loved by St. Francis, we reflect on the sense of magic and thaumaturgy in the Divine Comedy, presenting a new theological interpretation of the secret doctrine of "Inferno" IX. Virgil is shown in Dante’s poem as the great Roman poet and as the magician of the Neapolitan folkloric traditions of the Middle Ages; he is celebrated but also ridiculed for his limitations. The Christian world, in fact, transcends the pagan idea of magic being Nature’s proud minister, to advance a more complex thaumaturgic concept that indicates a miraculous event belonging not only to man but to the divine that is fused into the human dimension. Along these lines, the most essential characteristics and differences of Virgil the Magician’s two infernal journeys in the Divine Comedy are analysed in detail: first, the one that is determined by the spells of Erichto, Lucan’s witch, and which is therefore the work of ancient pagan black magic; second, the one that is Christianly predisposed by angelic inspiration, that is, by Beatrice, who is the symbol of a newer “celestial magic,” which is, in turn, a special thaumaturgic power indicated by the paradisiac episode of St. Francis and his wife.

Attraverso uno studio ermeneutico-simbolico delle figure dantesche di Virgilio, delle streghe Manto ed Erichto e della sposa di San Francesco si riflette sul senso del magico e del taumaturgico nella "Divina Commedia", proponendo una nuova interpretazione teologica della segreta “dottrina” a cui si allude nel canto IX infernale. Virgilio viene mostrato nel poema dantesco come il grande poeta latino e come il mago delle tradizioni folkloriche napoletane del Medioevo: così è celebrato ma anche ridicolizzato per i suoi limiti. Il mondo cristiano, infatti, trascende l’idea pagana della magia che è la signora orgogliosa della natura, per avanzare un “concetto magico” molto più vasto e complesso, evento non più soltanto dell’uomo ma del divino che è fuso e integrato nell’uomo. Su questa linea, si analizzano nei dettagli le più essenziali caratteristiche e differenze dei due viaggi infernali del mago Virgilio nella Divina Commedia: quello che è determinato dagli scongiuri di Erichto, la strega, ed è dunque opera di magia nera pagana antica, e quello che è predisposto cristianamente dall’ispiratrice angelicata, cioè da Beatrice che è simbolo della bellezza foriera di una “magia celestiale” più nuova, cioè una forma di taumaturgia indicata dalla figura paradisiaca di San Francesco e dalla sua sposa.

Theatre as Church Service: Brat Magarac (“Brother Donkey”)-A Drama about Saint Francis of Assisi by the Croatian Author and Director René Medvešek and its Staging at ZKM Zagreb

80%

Meyer-Fraatz A.

Roczniki Kulturoznawcze

2021

vol. 12

issue 1

129-140

The paper deals with the drama Brat Magarac (“Brother Donkey”) by the Croatian playwright and director René Medvešek, and the author’s staging at the Theatre of the Young (ZKM) in Zagreb in 2001. The drama presents the life of Francis of Assisi. Numerous film productions on this subject offer evidence of the inherent theatricality of Saint Francis’ life. Medvešek’s staging corresponds to Saint Francis’ teachings since the scenery and costumes are very modest. In addition, by integrating musical elements the whole performance takes on liturgical qualities. This corresponds to the author’s idea of theatre in general, which, in his view is not confined only to presenting a show for the audience, but which, similarly to a church service, brings people together and enables them to experience a catharsis.

Teatr jako nabożeństwo: Brat Magarac (“Brat Osioł”) - dramat o św. Franciszku z Asyżu chorwackego dramaturga i reżysera René Medveška i jego scena w ZKM w Zagrzebiu Artykuł dotyczy dramatu Brat Magarac („Brat Osioł”) chorwackiego dramaturga i reżysera René Medveška oraz inscenizacji autorskiej w Teatrze Młodych (ZKM) w Zagrzebiu w 2001 r. Dramat przedstawia życie Franciszka z Asyżu. Liczne produkcje filmowe na ten temat świadczą o teatralności nieodłącznej od życia św. Franciszka. Inscenizacja Medveška odpowiada nauczaniu św. Franciszka, ponieważ dekoracje i kostiumy są bardzo skromne. Dodatkowo, integrując elementy muzyczne, całość nabiera walorów liturgicznych. Odpowiada to w ogólności wyobrażeniom autora o teatrze, który jego zdaniem nie ogranicza się tylko do przedstawienia dla widowni, ale – podobnie jak nabożeństwo – łączy ludzi i umożliwia im przeżycie katharsis.

Refine search results

1 Italica Wratislaviensia

1 Roczniki Kulturoznawcze

1 Balducci M. A.

1 Meyer-Fraatz A.

2 2021

Search results

Virgilio, le streghe e la sposa di San Francesco nella "Divina Commedia"

Theatre as Church Service: Brat Magarac (“Brother Donkey”)-A Drama about Saint Francis of Assisi by the Croatian Author and Director René Medvešek and its Staging at ZKM Zagreb