Raffaella Di Tizio, in Why Strehler? On the dividing line between popu larisation and historiography, examines which aspects have remained unsolved in the manner of recounting Strehler’s path at the core of Italian theatre. She underlines the necessity of taking into account the interaction between pop ularisation and theatre historiography. The first impulse to write the article arose at the beginning of the events for “Strehler 100”, the centenary of the director’s birth, which was celebrated at the Piccolo Teatro in 2021 through a series of activities, interviews, documentaries and new publications. Three books that were published in the past few years are here discussed to observe the persistence, apart from the restricted group of specialists, of certain plat itudes about how Strehler is observed, such as the definition, often taken for granted, of him as having been the “first theatre director” and the first to stage Brecht in Italy.
Raffaella Di Tizio, in Perché Strehler? Sul confine tra divulgazione e sto riografia, riflette su quali aspetti nel modo di raccontare il percorso di Strehler al centro del teatro Italiano siano rimasti irrisolti, sottolineando la necessità di tener conto dell’importanza delle interazioni tra divulgazione e storiografia teatrale. Il primo impulso alla scrittura del saggio è nato mentre prendevano il via le iniziative di “Strehler 100”, il centenario dalla nascita di Giorgio Strehler, celebrato dal Piccolo Teatro nel 2021 con un fiorire di attività, inter viste, documentari e nuove pubblicazioni. Analizzando tre volumi usciti negli ultimi anni si osserva qui la persistenza, al di là del gruppo più ristretto degli specialisti, di alcuni luoghi comuni intorno alla sua figura – come le defini zioni, spesso date per scontate, di “primo regista italiano” e primo a mettere in scena i testi di Brecht in Italia
DI TIZIO, R. (2024). Perché Strehler? Sul confine tra divulgazione e storiografia. TEATRO E STORIA, 45, 325-348.
Perché Strehler? Sul confine tra divulgazione e storiografia
raffaella di tizio
2024-01-01
Abstract
Raffaella Di Tizio, in Why Strehler? On the dividing line between popu larisation and historiography, examines which aspects have remained unsolved in the manner of recounting Strehler’s path at the core of Italian theatre. She underlines the necessity of taking into account the interaction between pop ularisation and theatre historiography. The first impulse to write the article arose at the beginning of the events for “Strehler 100”, the centenary of the director’s birth, which was celebrated at the Piccolo Teatro in 2021 through a series of activities, interviews, documentaries and new publications. Three books that were published in the past few years are here discussed to observe the persistence, apart from the restricted group of specialists, of certain plat itudes about how Strehler is observed, such as the definition, often taken for granted, of him as having been the “first theatre director” and the first to stage Brecht in Italy.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.