The theatrical score in the 'musical turn'' of Carmelo Bene

Authors

DOI:

https://doi.org/10.4000/mimesis.1498

Keywords:

Carmelo Bene, phonè, theatrical score

Abstract

The “musical turn” of Carmelo Bene’s production begun in 1979 and remains little explored. However, it was one of the culminating moments in which the relation between the voice, the music and the listening were pushed to the limit of the “suspension of the tragic” and achieved full realisation. This article examines the earliest of these musical performances by Carmelo Bene: the Manfred originally written by Lord Byron and with musics by Schumann. The essay highlights also intriguing similarities between the use of the voice in Manfred and in the history of the Italian theatre, suggesting a possible confluence of nineteenth century declamatory techniques.

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Author Biography

Leonardo Mancini, University of Turin

Leonardo Mancini is a PhD Candidate in Letters (curriculum in Performing Arts and Music) at the University of Turin, in cotutorship at the Université Paris 8, with a research project focusing on the phonè in Carmelo Bene. As part of his studies, he also dealt with Luigi Rasi, whose book L'arte del comico (Mimesis Edizioni, Milan 2014) he has edited.

Published

2018-12-23

How to Cite

Mancini, L. (2018). The theatrical score in the ’musical turn’’ of Carmelo Bene. Mimesis Journal, 7(2), 61–74. https://doi.org/10.4000/mimesis.1498

Issue

Section

Essays