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1

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

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2019

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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.

2

L’anti-cristiana. Sulle attrici professioniste della prima età moderna

72%

Majorana B.

Italica Wratislaviensia

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2019

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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.

3

Vondel of Lope de Vega? Over Spaans toneel en Nederlandse actrices

44%

van Marion O.

Roczniki Humanistyczne

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2022

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vol. 70

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issue 5 Zeszyt specjalny

59-75

PL

Autorka artykułu na podstawie rachunków zarejestrowanych w archiwach analizuje popularność najważniejszych sztuk wystawianych na deskach Amsterdamse Schouwburg w latach 1650-1670. Najnowsze badania nad historią teatru niderlandzkiego oraz nad Amsterdamse Schouwburg pokazują, że ówczesna publiczność stawiała międzynarodowy i zróżnicowany gatunkowo repertuar wyżej nad klasyczne tragedie biblijne, które zapisały się w historii literatury. Wśród preferowanej twórczości znajdowały się tłumaczenia komedii hiszpańskich, które od połowy XVII w. przyciągały do teatru tłumy. Widzowie z entuzjazmem przyjmowali zarówno same spektakle, jak i ważne role odgrywane w nich przez kobiety. Miało to poważne konsekwencje dla personelu teatru, ponieważ po raz pierwszy konieczne się stało zatrudnienie aktorek. W amsterdamskim teatrze stały się one wszechstronnymi diwami o wielkim wyczuciu dramatu, przyciągającymi publiczność, która przychodziła specjalnie po to, by ujrzeć je na scenie. Autorka wskazuje na konieczność dalszych badań nad tym zagadnieniem.

EN

This article examines the popularity of the most important plays performed in the Amsterdamse Schouwburg between 1650 and 1670 on the basis of the receipts recorded in the archives. This recent research into Dutch theatre history and the Amsterdamse Schouwburg shows that the public enjoyed a repertoire that was much more international and multifaceted than just the classic Biblical tragedies mentioned in the literary histories. From the mid-seventeenth century, it was the translations of Spanish comedias that attracted a large audience. People enjoyed both the spectacle and the important roles for women. This had major consequences for the Schouwburg’s staff, because, for the first time, actresses had to be hired. These Dutch actresses were versatile divas with a great sense of drama, and the audience came especially to see them. Further research into this topic is recommended. Keywords: theatre history; Amsterdamse Schouwburg; Spanish theatre; Lope de Vega; actresses; Ariana van den Bergh; Susanna van Lee

NL

Het artikel onderzoekt de populariteit van de belangrijkste in de Amsterdamse Schouwburg tussen 1650 en 1670 opgevoerde stukken aan de hand van de recettes die zijn genoteerd in de archiefstukken. Uit dit recente onderzoek naar de Nederlandse theatergeschiedenis rondom de Amsterdamse Schouwburg blijkt dat het toenmalige publiek in groten getale genoot van een repertoire dat veel internationaler en veelvormiger was dan alleen de klassieke Bijbelse tragedies die in de literatuurgeschiedenissen staan vermeld. Het waren vertalingen van Spaanse comedias die vanaf het midden van de zeventiende eeuw volle zalen trokken. De toeschouwers kwamen af op veel spektakel en belangrijke rollen voor vrouwen. Dit had grote gevolgen voor het personeel van de Schouwburg, want er moesten voor het eerst actrices worden ingehuurd. Deze Nederlandse actrices waren veelzijdige diva’s met veel gevoel voor drama. Het publiek kwam speciaal om hen te zien. Verder onderzoek is noodzakelijk.

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1 Dziennikarstwo i Media

1 Italica Wratislaviensia

1 Roczniki Humanistyczne

1 Majorana B.

1 Pilloni G.

1 van Marion O.

1 2022

2 2019

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

L’anti-cristiana. Sulle attrici professioniste della prima età moderna

Vondel of Lope de Vega? Over Spaans toneel en Nederlandse actrices