Books by Livia Cavaglieri
Bulzoni, Roma, pp. 422, 2006
Main object of the monograph are theatrical agencies in Italy (both music and drama are meant), f... more Main object of the monograph are theatrical agencies in Italy (both music and drama are meant), from their beginning as a professional and profitable activity between 18th and 19th century to their huge growth in the second half of the 19th century. As a link between supply and demand, theatrical agencies permit to outline the functioning of the market of the theatre on the distribution and communication side, when the performing arts were the main cultural consumption in Italy. The first part of the book focuses on theatrical intermediation as a professional activity. Legal position and rules, customs and norms in the different field of activities are described.
The second part of the research focuses on a case study, the city of Milan in the 19th century, as it held a leader position in the theatrical production and market. Institutional and juridical contexts under the different governments (before and after Italy’s political Unity) are presented as the basic frames within agencies could or could not work. A reconstruction of the network of agents and agencies, of their strategies and connections to the main theatre enterprises of the country is aimed. Particular attention is given to “L’Arte drammatica”, the first important agency in drama, and to its prevailing homonymous journal.
The book ends with a dictionary of the main agents and impresarios mentioned. Each voice provides new biographical and bibliographical information.
As far as scientific background is concerned, the History of Theatrical Organization and Economics is a quite young academic subject and global studies on the 19th century are very few: therefore the book is based most on unpublished materials from archives, coeval journals and management treatises.
THE SERIES (English)
The series “The Theatre of Memory” is focused on the field of Theatre Studie... more THE SERIES (English)
The series “The Theatre of Memory” is focused on the field of Theatre Studies from the second half of the twentieth century to the twenty-first century. It aims at functioning as a bi-fronted editorial space.
The first front concerns the themes and the research methodology. The
series was intended to host contributions oriented to investigate those paths through which fields of study and methods of enquiry as Theatre, Orality and Memory intertwine. The word «Theatre» signals the fact that the series primarily considers spoken drama, even though the series wants to address the performing arts as a more general focus. «Orality» underpins an interest toward non-written sources: interviews with witnesses and bearers of memory, held by scholars and researchers and preserved in their original nature as exact oral sources; creative performative reuse of existing oral sources; a broad interest in any kind of non-written sound sources. «Memory» refers to a field of study and, at the same time, to a methodological approach to the analysis of the sources, facts and issues related to theatre, in dialogue with the traditional research methodologies of History, Oral History and
Memory Studies.
The second front that characterises “The Theatre of Memory” is its experimental publishing format. Technology, in this case, enables the possibility to safeguard and make the oral source available – orality is the quid and it represents its specificity. Although it is also possible to purchase the printed edition and enjoy the multimedia contents separately, The Theatre of Memory is conceived as a non-traditional editorial instrument: a series of essays-in-sound making the most of the potential of technology and allowing multi sensorial critical encounters.
THE FIST VOLUME (Italian)
Il primo volume della collana “Il teatro della memoria” è dedicato a due
esperienze preziose per la memoria del teatro di ricerca italiano: la Borsa
di Arlecchino di Genova e il Beat 72 di Roma, teatri sotterranei nel senso reale dell’aggettivo e luoghi di una memoria del sotterraneo per indicare, in un senso metaforico, pratiche artistiche lontane dai percorsi più consueti e ufficiali. Nel volume storia e memoria partecipano
a un comune racconto, in cui la stratificazione dei vissuti e la polifonia
delle voci si intrecciano con la molteplicità dei dati e danno conto della
complessità del processo con cui la narrazione storica è elaborata: alla narrazione cronologica e dettagliata della storia delle due sale si accompagnano le voci dei testimoni con i loro racconti in soggettiva, le cronache pubblicate sui quotidiani del tempo e ancora fotografie di scena o dei fuori scena, locandine, approfondimenti critici su
singoli episodi, figure, spettacoli. Il volume è pensato nell’ottica di una fruizione plurisensoriale: oltre alle pagine da leggere e sfogliare, voci, fotografie e immagini si possono ascoltare e vedere sul web. Come un’ouverture, al principio del volume, i dialoghi con due fra
gli studiosi più attenti al rapporto fra fonti orali e teatro, Alessandro Portelli e Laura Mariani, aprono le porte ai sotterranei della memoria teatrale.
Il volume nasce da un seminario tenutosi presso il Polo universitario di Imperia nel 2015 e dedic... more Il volume nasce da un seminario tenutosi presso il Polo universitario di Imperia nel 2015 e dedicato alle fonti orali e al teatro. Fu quella una prima importante occasione di confronto fra storici del teatro (italiani e francesi) e storici orali. Dopo una prima parte (Storia orale, memoria, teatro. Un contesto interdisciplinare) dedicata alla riflessione interdisciplinare fra i due campi, il volume raccoglie una serie riflessioni ordinate secondo due vettori concettuali. Fonti orali per il teatro tratta delle fonti orali come risorse documentarie per la storia del teatro e per la costruzione di una memoria polifonica del teatro, ponendo una serie di questioni metodologiche e di esemplificazioni concrete. Fonti orali nel teatro è invece dedicato al filone di esperienze performative nelle quali la fonte orale è stata utilizzata come materiale di costruzione drammaturgica. Il volume non fornisce risposte univoche, ma conferma le infinite possibilità del dialogo fra gli studi sull’oralità e quelli sul teatro. È questa la sua conclusione più accertata e riconoscibile. Una conclusione dinamica e aperta che promette di identificare nuovi strumenti e conoscenze.
---
The book has its roots in a seminar held in 2015 in the University Centre of Imperia. The seminar was devoted to oral sources and theatre. It was a first, important opportunity for (Italian and French) theatre historians and oral historians to meet and have a debate. After a first part centred on interdisciplinary considerations (Oral history, memory, theatre), the book collects essays organized into two conceptual subdivisions. Oral sources for the theatre deals with oral sources as documentary resources for theatre history and for a polyphonic memory of theatre, by exploring methodological questions and offering some concrete examples. Oral sources in the theatre focuses on theatre performances where oral sources are used as dramaturgy materials. The book doesn’t offer unequivocal answers, but it confirms the countless and possible exchanges of views between orality and theatre scholars. This result is a dynamic and open research of new tools and knowledge.
Titivillus, Corazzano/Pisa, 2012
Papers by Livia Cavaglieri
Drammaturgia, Dec 21, 2023
Quaderni del CSCI: rivista annuale di cinema italiano, 2013
Mimesis journal, Jul 1, 2022
Quando pensiamo al teatro, immaginiamo il palcoscenico, le luci, gli attori che recitano di front... more Quando pensiamo al teatro, immaginiamo il palcoscenico, le luci, gli attori che recitano di fronte al pubblico. E dimentichiamo che, dietro le quinte, \ue8 stato portato avanti un lungo lavoro che trova nello spettacolo il suo punto d\u2019arrivo. Il reperimento delle risorse, il quadro legislativo e l\u2019organizzazione produttiva, cos\uec come il rapporto con gli spettatori, sono tutti fattori che influenzano la creazione teatrale. Ma, a causa di un pregiudizio che isola l\u2019arte in una sfera ideale, lo studio sull\u2019organizzazione economica e sulle politiche del teatro \ue8 stato poco praticato soprattutto in Italia. Il sistema teatrale \ue8 stato scritto per riempire questa lacuna. Attraverso la lente della storia, il volume affronta per la prima volta in maniera sistematica e complessiva gli elementi che permettono al teatro di esistere e il modo in cui essi si inseriscono nelle cornici istituzionali. Partendo dalla Commedia dell\u2019arte, considerata l\u2019atto di nas...
Uploads
Books by Livia Cavaglieri
The second part of the research focuses on a case study, the city of Milan in the 19th century, as it held a leader position in the theatrical production and market. Institutional and juridical contexts under the different governments (before and after Italy’s political Unity) are presented as the basic frames within agencies could or could not work. A reconstruction of the network of agents and agencies, of their strategies and connections to the main theatre enterprises of the country is aimed. Particular attention is given to “L’Arte drammatica”, the first important agency in drama, and to its prevailing homonymous journal.
The book ends with a dictionary of the main agents and impresarios mentioned. Each voice provides new biographical and bibliographical information.
As far as scientific background is concerned, the History of Theatrical Organization and Economics is a quite young academic subject and global studies on the 19th century are very few: therefore the book is based most on unpublished materials from archives, coeval journals and management treatises.
The series “The Theatre of Memory” is focused on the field of Theatre Studies from the second half of the twentieth century to the twenty-first century. It aims at functioning as a bi-fronted editorial space.
The first front concerns the themes and the research methodology. The
series was intended to host contributions oriented to investigate those paths through which fields of study and methods of enquiry as Theatre, Orality and Memory intertwine. The word «Theatre» signals the fact that the series primarily considers spoken drama, even though the series wants to address the performing arts as a more general focus. «Orality» underpins an interest toward non-written sources: interviews with witnesses and bearers of memory, held by scholars and researchers and preserved in their original nature as exact oral sources; creative performative reuse of existing oral sources; a broad interest in any kind of non-written sound sources. «Memory» refers to a field of study and, at the same time, to a methodological approach to the analysis of the sources, facts and issues related to theatre, in dialogue with the traditional research methodologies of History, Oral History and
Memory Studies.
The second front that characterises “The Theatre of Memory” is its experimental publishing format. Technology, in this case, enables the possibility to safeguard and make the oral source available – orality is the quid and it represents its specificity. Although it is also possible to purchase the printed edition and enjoy the multimedia contents separately, The Theatre of Memory is conceived as a non-traditional editorial instrument: a series of essays-in-sound making the most of the potential of technology and allowing multi sensorial critical encounters.
THE FIST VOLUME (Italian)
Il primo volume della collana “Il teatro della memoria” è dedicato a due
esperienze preziose per la memoria del teatro di ricerca italiano: la Borsa
di Arlecchino di Genova e il Beat 72 di Roma, teatri sotterranei nel senso reale dell’aggettivo e luoghi di una memoria del sotterraneo per indicare, in un senso metaforico, pratiche artistiche lontane dai percorsi più consueti e ufficiali. Nel volume storia e memoria partecipano
a un comune racconto, in cui la stratificazione dei vissuti e la polifonia
delle voci si intrecciano con la molteplicità dei dati e danno conto della
complessità del processo con cui la narrazione storica è elaborata: alla narrazione cronologica e dettagliata della storia delle due sale si accompagnano le voci dei testimoni con i loro racconti in soggettiva, le cronache pubblicate sui quotidiani del tempo e ancora fotografie di scena o dei fuori scena, locandine, approfondimenti critici su
singoli episodi, figure, spettacoli. Il volume è pensato nell’ottica di una fruizione plurisensoriale: oltre alle pagine da leggere e sfogliare, voci, fotografie e immagini si possono ascoltare e vedere sul web. Come un’ouverture, al principio del volume, i dialoghi con due fra
gli studiosi più attenti al rapporto fra fonti orali e teatro, Alessandro Portelli e Laura Mariani, aprono le porte ai sotterranei della memoria teatrale.
---
The book has its roots in a seminar held in 2015 in the University Centre of Imperia. The seminar was devoted to oral sources and theatre. It was a first, important opportunity for (Italian and French) theatre historians and oral historians to meet and have a debate. After a first part centred on interdisciplinary considerations (Oral history, memory, theatre), the book collects essays organized into two conceptual subdivisions. Oral sources for the theatre deals with oral sources as documentary resources for theatre history and for a polyphonic memory of theatre, by exploring methodological questions and offering some concrete examples. Oral sources in the theatre focuses on theatre performances where oral sources are used as dramaturgy materials. The book doesn’t offer unequivocal answers, but it confirms the countless and possible exchanges of views between orality and theatre scholars. This result is a dynamic and open research of new tools and knowledge.
Papers by Livia Cavaglieri
The second part of the research focuses on a case study, the city of Milan in the 19th century, as it held a leader position in the theatrical production and market. Institutional and juridical contexts under the different governments (before and after Italy’s political Unity) are presented as the basic frames within agencies could or could not work. A reconstruction of the network of agents and agencies, of their strategies and connections to the main theatre enterprises of the country is aimed. Particular attention is given to “L’Arte drammatica”, the first important agency in drama, and to its prevailing homonymous journal.
The book ends with a dictionary of the main agents and impresarios mentioned. Each voice provides new biographical and bibliographical information.
As far as scientific background is concerned, the History of Theatrical Organization and Economics is a quite young academic subject and global studies on the 19th century are very few: therefore the book is based most on unpublished materials from archives, coeval journals and management treatises.
The series “The Theatre of Memory” is focused on the field of Theatre Studies from the second half of the twentieth century to the twenty-first century. It aims at functioning as a bi-fronted editorial space.
The first front concerns the themes and the research methodology. The
series was intended to host contributions oriented to investigate those paths through which fields of study and methods of enquiry as Theatre, Orality and Memory intertwine. The word «Theatre» signals the fact that the series primarily considers spoken drama, even though the series wants to address the performing arts as a more general focus. «Orality» underpins an interest toward non-written sources: interviews with witnesses and bearers of memory, held by scholars and researchers and preserved in their original nature as exact oral sources; creative performative reuse of existing oral sources; a broad interest in any kind of non-written sound sources. «Memory» refers to a field of study and, at the same time, to a methodological approach to the analysis of the sources, facts and issues related to theatre, in dialogue with the traditional research methodologies of History, Oral History and
Memory Studies.
The second front that characterises “The Theatre of Memory” is its experimental publishing format. Technology, in this case, enables the possibility to safeguard and make the oral source available – orality is the quid and it represents its specificity. Although it is also possible to purchase the printed edition and enjoy the multimedia contents separately, The Theatre of Memory is conceived as a non-traditional editorial instrument: a series of essays-in-sound making the most of the potential of technology and allowing multi sensorial critical encounters.
THE FIST VOLUME (Italian)
Il primo volume della collana “Il teatro della memoria” è dedicato a due
esperienze preziose per la memoria del teatro di ricerca italiano: la Borsa
di Arlecchino di Genova e il Beat 72 di Roma, teatri sotterranei nel senso reale dell’aggettivo e luoghi di una memoria del sotterraneo per indicare, in un senso metaforico, pratiche artistiche lontane dai percorsi più consueti e ufficiali. Nel volume storia e memoria partecipano
a un comune racconto, in cui la stratificazione dei vissuti e la polifonia
delle voci si intrecciano con la molteplicità dei dati e danno conto della
complessità del processo con cui la narrazione storica è elaborata: alla narrazione cronologica e dettagliata della storia delle due sale si accompagnano le voci dei testimoni con i loro racconti in soggettiva, le cronache pubblicate sui quotidiani del tempo e ancora fotografie di scena o dei fuori scena, locandine, approfondimenti critici su
singoli episodi, figure, spettacoli. Il volume è pensato nell’ottica di una fruizione plurisensoriale: oltre alle pagine da leggere e sfogliare, voci, fotografie e immagini si possono ascoltare e vedere sul web. Come un’ouverture, al principio del volume, i dialoghi con due fra
gli studiosi più attenti al rapporto fra fonti orali e teatro, Alessandro Portelli e Laura Mariani, aprono le porte ai sotterranei della memoria teatrale.
---
The book has its roots in a seminar held in 2015 in the University Centre of Imperia. The seminar was devoted to oral sources and theatre. It was a first, important opportunity for (Italian and French) theatre historians and oral historians to meet and have a debate. After a first part centred on interdisciplinary considerations (Oral history, memory, theatre), the book collects essays organized into two conceptual subdivisions. Oral sources for the theatre deals with oral sources as documentary resources for theatre history and for a polyphonic memory of theatre, by exploring methodological questions and offering some concrete examples. Oral sources in the theatre focuses on theatre performances where oral sources are used as dramaturgy materials. The book doesn’t offer unequivocal answers, but it confirms the countless and possible exchanges of views between orality and theatre scholars. This result is a dynamic and open research of new tools and knowledge.
Anniversaries UNESCO 2022-2023, a series of events, including one International Conference, is being
sponsored by the Università degli studi di Genova, the Museo Biblioteca dell’Attore, the Teatro
Nazionale di Genova, in collaboration with PRIN 2017 The work of Italian actors: national models and
international contexts.
Deadline for proposals: October 15, 2021.
Notification of acceptance: 30 November 2021.
Termine per l’invio delle proposte: 30 settembre 2021.
Comunicazione degli esiti ai proponenti: 30 novembre 2021.