printer
friendly version
DWF
donnawomanfemme
Roma, Editrice coop. UTOPIA, 1986-
Stage Passions, 1999, n. 41
EDITORIAL, Stage Passions, pp. 2-5
BONO Paola
Potentially subversive, pp. 5-13
CIXOUS Hélène
The Sublime Marionette, pp. 14-18
MARIANI Laura
A special intelligence, pp. 19-26
MASI Paola
Dora's cough, pp. 27-29
GIORGI Stefania
Score and Instrument/Interview with Marisa Fabbri,
pp. 30-37
CURINO Laura
The Sound Mask, pp. 38-44
MASCIOPINTO Rosa
Body and language: itineraries and reflections of a theatre
performer, pp. 45-50
CONTI Dodi
Making my inner world work, pp. 51-55
CLARKSON Giulia
An unexpected provocation, pp. 56-59
ROSSI Daniela
Organising sexed bodies, pp. 60-62
BERTELL Lucia - DEL BENE Roberta
Between Theatre and Politics more than a friendship,
pp. 63-69
CIXOUS Hélène
My Algeriance, pp. 70-92
EDITORIAL, Stage Passions, pp. 2-5
Is it possible and productive to reflect theoretically and politically on theatre and its language in Italy? We wish to consider and inquire into its founding characteristics, its concrete expressions and into the female figures inhabiting it concretely. We exemplify those elements of the theatre game which best lend themselves to feminist reflection as well as highlighting some of the issues addressed to women as theatre goers and to those professionally involved in it.
BONO Paola, Potentially subversive, pp. 5-13
A personal and political reflection on same aspects of theatrical activity: the itinerary of loss and gain of the self in order to be an actor/actress; the power of the theatre to reveal the constructed nature of supposedly immutable identities and roles; the female spectator as a decoder of both theatrical and everyday "reality".
CIXOUS Hélène, The Sublime Marionette, pp. 14-18
In the interview, H.C. explains the relationship and the differences between fiction writing (which same have called écriture féminine) and play writing in her own production, referring above all to her deep bond with the Théatre du Soleil.
MARIANI Laura, A special intelligence, pp. 19-26
The author describes the origins of her passion for the theatre and how intertwining it with feminism has led her to direct her work as a historian towards actresses at the end of the nineteenth century and the beginning of the twentieth. Her work and their lives - as the author claims with different examples and in-depth analysis - have carried a precursory theoretical weight which has fully come to light only recently.
MASI Paola, Dora's cough, pp. 27-29
Almost a memory interlude, the author recounts the mechanisms often used by the consciousness-raising groups of the 70's as an occasion of self-representation and through it, of liberation from the suffering of being a woman. She also describes how body language and the theatre game were used for the purpose of political communication.
GIORGI Stefania, Score and Instrument/Interview with Marisa Fabbri, pp.
30-37
Marisa Fabbri, actress and theatre director, answers the questions posed by the editorial emphasising how the difficulties the theatre is undergoing in our society are due to the nature of theatre itself. "The actor is not only the author's messenger but also the public's. The present day actress/tor is expected to know the kind of society s/he lives in and the common sense, rather than the common place, which runs through it. We are not afraid of this, but the public is".
CURINO Laura, The Sound Mask, pp. 38-44
Actress and author, Laura Curino tackles all the issues raised by the editorial re-examining the sense of some of her works put an stage together with the group Laboratorio Teatro Settimo in Turin. "I'm looking - she claims summing up - for the redundancy of female characters in writing and on the stage.
I'm looking for the woman's point of view on history and on the men who have determined it with almost absolute supremacy until last century. I write a lot about women and I make women write their history and that of men as well".
MASCIOPINTO Rosa, Body and language: itineraries and reflections of a theatre
performer, pp. 45-50
Actress, author and director, the author retraces her working itineraries - more recently even as drama and improvisation teacher - through the very different experiences which have nourished her curiosity and her power of linguistic invention: "Geometry serving emotions, intelligence serving sensitivity, mathematics serving inspiration, discipline serving imagination".
CONTI Dodi, Making my inner world work,
pp. 51-55
Theatre actress and author - but also with film and television experience - Conti explains how her texts and characters are born and what the differences are, for her, between the different forms of entertainment.
CLARKSON Giulia, An unexpected provocation, pp. 56-59
The author enunciates her concept of the theatre as provocation and rebellion, the undermining of given codes - the examples she makes refer to "Street Theatre" in which she has been engaged far some years.
ROSSI Daniela, Organising sexed bodies,
pp. 60-62
Theatre organiser sui generis, the author says of herself: "What I've always been engaged in and keep on being is politics: working with what for me is fundamental, namely make women visible (…) I therefore enjoy discovering language kinds which manage to satisfy that difference which I know exists on stage when women don't leave their own self behind".
She first did it with the project Riso Rosa, an investigation into women's comic and ironic language and at the moment with the project Rispondete per le Rime, a census of women's comic poetry.
BERTELL Lucia - DEL BENE Roberta, Between Theatre and Politics more than a friendship, pp. 63-69
The authors retrace their experiences to question themselves on the sense of experimental theatre in our society where even theatrical activity appears to be used to cultivate individual spaces for general training. On the other hand, "the unseated power of the Marked to engulf languages, tools and experiences makes it all the more difficult for theatre for theatre's sake to signify its own difference, that is, of its being primarily a producer of signification and community".
CIXOUS Hélène, My Algeriance,
pp. 70-92
The author narrates her childhood in Algeria, the constant feeling of rootlessness, of being a pariah - neither Arab nor French, perhaps Berber, of Jewish-German origins - in a ferociously divided world, French only for gratitude and for "the infinite hospitality of the language". And how she has now found a new relationship with Algeria "whose limbs are female", a relationship full of so many things she calls Algeriance.