"Aspettando Godot" e la cosmogonia teatrale di Carlo Quartucci

Maria Grazia Berlangieri

doi:10.4000/mimesis.2120

Maria Grazia Berlangieri Sapienza Università di Roma https://orcid.org/0000-0001-7529-5884

DOI: https://doi.org/10.4000/mimesis.2120

Abstract

The essay analyses the theatrical cosmogony of Carlo Quartucci and the Compagnia della Ripresa, built around the understanding of Samuel Beckett’s dramaturgy with a primary focus on Waiting for Godot (The three first performances, 1959 - Teatro Brancaccio, Compagnia universitaria Latino-Metronio; 1964 – Teatro Stabile di Genova, Compagnia del Teatro Studio; 1965 – Festival di S. Beckett, Prima Porta Roma, Compagnia della Ripresa – Teatro Mobile). Furthermore, with the aid of unpublished interviews with Carlo Quartucci and Carla Tatò, Cosimo Cinieri and Emiliano Tolve, this study digs deeper inside the lesser known influen- ces on Quartuccis’s poetic such as the study of texts on figure and form by the art historian Carlo Lodovico Ragghianti and the “conceptual” work in the studio with the photographer Lisetta Carmi and his ideal and posthumous relationship with conceptual artist Marcel Brodhears.

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Biografia autore

Maria Grazia Berlangieri, Sapienza Università di Roma

Maria Grazia Berlangieri is Assistant Professor in Theatre Studies and Digital Technologies at the University of Rome Sapienza where she obtained her PhD in Digital Technologies for Performance Research. Her current research areas are the history and aesthetics of 20th-century Italian theatre, narrative visualization of data collected in the performing arts, analysis through motion capture technologies of actors-dancers movements, Artificial Intelligence for Cultural Heritage, and transmedia narration. She participated as a researcher in the European project 'Eclap, European Collected Library of Artistic Performance' and the ERC project INCOMMON. In praise of community. Shared creativity in arts and politics in Italy (1959-1979). She is the scientific head of the Artificial Intelligence and Machine Learning Laboratory for the Digital Humanities (LABS- Sapienza). He teaches Writing for the Live Performance at Sapienza University of Rome. Among others, he has published Il Teatro dell'Università di Roma 1935-1958. Crocevia di teoresi e pratiche teatrali, Bulzoni Editore (2016), Performing Space. Lo spazio performativo e l'hacking digitale. Nuove tecnologie e transmedialità, Bordeaux Edizioni (2021).