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The figure of the woman in Sardinian theater of the 1970s: The case of the theater company La Maschera of San Sperate

100%
Pilloni G.
Dziennikarstwo i Media
|
2019
|
vol. 11
29 - 35
EN
This piece of resesch aims to study the emancipation of women in the world of theater through a particular case that occurred at the end of the 1960s in a small peasant town in southern Sardinia, San Sperate. Ida Pillitu is a woman who started acting and has been working in the La Maschera Theater Company since 1971, when they began to produce more socially engaged shows. I mainly conducted this research through some archive documents and an interview with Ida Pillitu, who revealed to me the effort and the determination with which she achieved her goals and her dream of becoming an actress.
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L’anti-cristiana. Sulle attrici professioniste della prima età moderna

72%
Majorana B.
Italica Wratislaviensia
|
2019
|
issue 10.2
85–101
EN
The profession of the commedia dell’arte actress acquires a markedly visible position in the broad public horizon of Modern-Age Italy. The actress, in that context, places herself both at the borders of the male amateur theatre practices and amongst the virtuous feminine models (nuns, wives, virgins), conflicting with both. These counter-positions must have been very visible, particularly to the spectators, who could easily draw comparisons both with the amateur shows, where only male actors played, and with different kinds of feminine characters. These contrasts are explored in this article using moral essays of the time, including the equivalence between actress and prostitute put forward by a lengthy treatise in 1646 by G.D. Ottonelli.
IT
Il mestiere di comica dell’Arte assume una posizione marcatamente visibile nell’orizzonte pubblico dell’Italia cattolica di età moderna, dove l’attrice si colloca tanto sui confini delle pratiche teatrali maschili edificanti dei dilettanti quanto su quelli dei modelli femminili virtuosi (monache, spose, vergini), confliggendo con gli uni e con gli altri. Queste contrapposizioni dovevano essere ben presenti in primo luogo agli spettatori, i quali potevano operare un confronto sia con spettacoli non professionistici e dunque recitati soltanto da uomini, sia con modelli diversi di donna. I contrasti vengono indagati attraverso la trattatistica morale del tempo, soffermandosi infine sull’assimilazione fra attrice e prostituta proposta in un corposo trattato del 1646 di G.D. Ottonelli.
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