CoSMo | Comparative Studies in Modernism 2020-07-01T10:24:10+02:00 Editorial Team Open Journal Systems <p>CoSMo | Comparative Studies in Modernism è la rivista del <a href="">Centro Studi "Arti della Modernità"</a>. Vi sono raccolti i risultati più rilevanti delle riflessioni maturate nel corso dei seminari e delle giornate pubbliche che il Centro Studi promuove.</p> <p>La rivista è strutturata in tre sezioni: <em>Percorsi</em>, <em>Focus </em>e <em>Letture</em>. Gli articoli sono pubblicati al termine di un processo di <em>peer review</em>, monitorato grazie alla piattaforma elettronica dell'Università di Torino.</p> Scarica il sommario 2020-07-01T10:24:10+02:00 Maria Teresa Giaveri Alessandro Pontremoli 2020-06-25T00:00:00+02:00 ##submission.copyrightStatement## Scarica l'intero fascicolo 2020-07-01T10:24:09+02:00 Maria Teresa Giaveri Alessandro Pontremoli 2020-06-25T00:00:00+02:00 ##submission.copyrightStatement## Introduzione 2020-07-01T10:23:29+02:00 Alessandro Pontremoli <p class="x_MsoNormal" style="margin: 0cm 0cm 0.0001pt; color: #000000;"><span lang="EN-US"><span style="font-family: arial, sans-serif;">This introduction summarizes the contents of Focus 1 and briefly mentions the articles of Focus 2 and the other sections of the magazine, highlighting their common features.&nbsp;</span></span></p> 2020-06-28T00:00:00+02:00 ##submission.copyrightStatement## Danzare l’armonia. L’incontro tra musica e danza nelle corti italiane del XV secolo 2020-07-01T10:23:24+02:00 Alessandro Pontremoli <p>The consolidated dance-music couple, so rooted in the tradition of Western dance to the present day, is a cultural construct that has its origins in the Renaissance, when for the first time in history dance is numbered among the Arts. The birth of specific dance treatises, which prescript a way of dancing for the hegemonic class, responds to the need to systematize a choreic style able to discipline the body, to provide it with features of social distinction, to reduce a physical practice through Art using words and musical notation and, finally, to leave a trace of a repertoire of choreographic compositions worthy of memory, some of which with its own musical accompaniment. The association between the two Arts reaches a point of great solidity in sharing of the measure (ethical and numerical) aimed at the aesthetic achievement of harmony.</p> 2020-06-28T19:08:03+02:00 ##submission.copyrightStatement## “Une partie essentielle du spectacle”. Il ballo nelle feste teatrali torinesi del secondo Settecento 2020-07-01T10:23:37+02:00 Annarita Colturato <p>From <em>La vittoria d’Imeneo</em>, staged at the Teatro Regio in June 1750, by Giuseppe Bartoli and Baldassare Galuppi, to the moment when the striking French events of the end of the century upset the international chessboard, the<em> festa teatrale</em> was the genre most often used in Turin for commemorative events. <em>Feste teatrali</em> were used to solemnize the visits of foreign princes and sovereigns as well as celebrate the dynastic ties that the Savoy monarchy managed to forge with the main European courts through music. A representation of sovereignty and an instrument of consensus par excellence, this type of opera is a fertile ground for those who intend to study curial politics and its ritual practices; from a theatrical and musical point of view, it also offers many ideas for investigation, one of which concerns the constitutive and structural role of dance.</p> 2020-06-26T00:00:00+02:00 ##submission.copyrightStatement## Armonia in movimento. La genesi della danza libera di Rudolf Laban e le teorie musicali e pittoriche del suo tempo 2020-07-01T10:23:53+02:00 Susanne Franco <p>This essay analyses the thought of Rudolf Laban (1879-1950), one of the most important theoreticians of free (modern) dance in the first half of the 20th century, and particularly the concept of harmony, which he explored in close connection with contemporary theories in music and painting. Although he never arrived at an overall and definitive formulation of the concept of harmony, it became the conceptual framework within which Laban developed his analysis of body movement exploring its dynamic, expressive, emotional and psychological nuances. These theories, scattered in fragmentary thoughts and in unpublished texts or published at different times and in different languages, marked a turning point in the conceptualization of the relationship between body, movement and space, and indicated the direction along which modern dance developed.</p> 2020-06-26T00:00:00+02:00 ##submission.copyrightStatement## “42nd Street” (1933). Un musical cinematografico tra danza, musica e politica 2020-07-01T10:23:46+02:00 Patrizia Veroli Gianfranco Vinay <p>The authors analyse one of the most important film musicals of the Golden Age of this genre, <em>42nd Street</em> (Warner Bros, 1933) which was produced in the same year when the newly elected president of the United States, F.D. Roosevelt, started to implement his New Deal. A socalled backstage musical, 42nd Street is an excellent representative of this musical subgenre for several reasons. Not only is it ideologically consonant with the political moment, but his plot is well-balanced with the musical and danced numbers. These are authored by Busby Berkeley, one of the most authoritative names of those years for dance groupings. His geometrical and caleidoscopic arrangements were enhanced by the technological innovations which became his signature, and were set up with the music of Harry Warren and the lyrics of Al Dubin, whose joint work could attain extremely effective results in terms of rhythmical and rhymic consonances.</p> 2020-06-26T00:00:00+02:00 ##submission.copyrightStatement## Louis Horst. Danza e musica nel modernismo coreico americano 2020-07-01T10:24:07+02:00 Emanuele Giannasca <p>Pianist, musical director, composer, but most of all theorist, Louis Horst was a pivotal figure of American modern dance and influenced generations of dancers and choreographers. A passionate advocate of the close relationship between dance and music, through this duo he identified the principles of a new discipline: dance composition. This discipline outlined the guidelines of the creative practice of a choreographic genre that embodied a renewed, authentically American way of understanding dance.</p> 2020-06-26T00:00:00+02:00 ##submission.copyrightStatement## Introduzione. Itinerarium mentis in Herodiadem 2020-07-01T10:24:03+02:00 Maria Teresa Giaveri <p>The biblical story of Salome has long been a favorite of poets and painters, especially during the nineteenth century (2800 titles from 1870 to 1914). In most cases the figure of Salome is emblematic of the <em>femme fatale</em>, the icon of dangerous female seductiveness (notably in regard to her dancing before Herod). But there is a most interesting interpretation, proposed by Heine and developed by Mallarmé: Salome as symbol of poetry, of pure beauty. This is a study on the aesthetic transfiguration of the figure of Salome starting whit a few poems by Heinrich Heine and Théodore de Banville, and ending with Stéphane Mallarmé’s theatrical project, whose fragments would have made up the poem <em>Hérodiade</em>.</p> 2020-06-26T00:00:00+02:00 ##submission.copyrightStatement## L’arresto del tempo drammatico nella “Salomé” di Oscar Wilde 2020-07-01T10:23:48+02:00 Guido Paduano <p>This paper deals with the protagonist of Oscar Wilde’s <em>Salome</em>. Throughout the whole play, Salome is a dominant figure, and her soft power ends up annihilating any other form of power – that of Narraboth, that of Herodias, that of Herod, and ultimately even that of Iokanaan. The paper analyses Salome’s power instance by means of a close reading of her rhetorical strategies: by refusing dialogue as a form of interpersonal and dramatic development, Salome halts the dramatic time of the play.</p> 2020-06-26T00:00:00+02:00 ##submission.copyrightStatement## Il mito di Salomè nella cultura russa 2020-07-01T10:23:43+02:00 Nadia Caprioglio <p><span lang="EN-GB">This essay aims to trace the fascination with the figure of Salome in Russia and the different interpretations given to the biblical passages featuring the Jewish princess. It does so with reference to the distinction between "history" and "becoming" theorized by Gilles Deleuze. In the transition from "history" to "becoming", the figure undergoes different and contrasting metamorphoses: in the age of Decadentism, she is the representation of authors’ passion for the East and the epitome of destructive feminine seduction. In the first decade of the twentieth century, she comes to represent both devotion to poetry of Symbolist aesthetics and the cultural and moral decline of Russian society. After becoming an androgynous acrobat in the Soviet period, she turns into a pop icon in post-Soviet Russia. The essay focuses on the way in which Salome is represented in her different and contrasting metamorphoses through the ages.</span></p> 2020-06-26T00:00:00+02:00 ##submission.copyrightStatement## Penser avec Salomé. Variantes d’un symbole, du mythe à l’opéra 2020-07-01T10:23:32+02:00 Patrice Maniglier <p>Using as an example the opera Salome by Richard Strauss (1905), which was adapted from the play by Oscar Wilde (1893), the article argues that artworks can be considered as concrete thinking for the same reason as myths, and even more so, because they transform myths into texts (understood as remediations of a mythic matrix within particular mediums). The article thus propounds a new interpretation of the Romantic concept of symbol, understood as a figure emerging from those textualizations of myths, each transfer of the myth from one medium to another requiring a re-symbolization. The article analyses those operations within Strauss’ opera, and then, moving backward in time, it studies the transformations of the myth of Salome through the history of its resymbolizations, which ended in making of her not only the symbol of Art, but also, as in Wilde’s version, an allegory of desire far removed from the original tradition coming from the Gospels. The article thus intends to show that thought import of the artworks is contained in the way they transform others.</p> 2020-06-28T00:00:00+02:00 ##submission.copyrightStatement## Les séductions de l’ailleurs, entre littérature, musique et danse 2020-07-01T10:23:34+02:00 Laura Colombo <p>This text aims at studying and revisiting the image of the femme fatale in dance, focusing on the figures of Carmen and Salomé, who represent the appeal of exoticism and otherness, from 19th till 21th centuries. Moving from the inclusion of dance in literary and musical works by Flaubert, Huysmans, Mallarmé and Wilde on the one hand, and Mérimée and Bizet on the other, the text evokes dance shows regarding Salomé created by Loïe Fuller, Ida Rubinštejn, Tamara Karsavina and Martha Graham, and focuses on the interrelations of literature, music and dance, examining the different types of intersemiotic translation in the choreographies concerning Carmen by Roland Petit, Alberto Alonso, Mats Ek, Antonio Gades and <span class="st">Jiří Bubeníček</span>.</p> 2020-06-26T17:50:37+02:00 ##submission.copyrightStatement## Degas. L'altro volto della danza 2020-07-01T10:24:02+02:00 Piera Giovanna Tordella <p>The essay will focus on Degas as ‘cruel’ painter, draftsman and sculptor of ballet dancers. In this essay, the Degas’s poetics, philosophy, aesthetic of dance are dealt with as a specific stage of European thought on art and poetry. In particular, they are analysed in the light of the theories developed in Europe in the second half of 19th century and in the first half of 20th century in relation with the art criticism, philosophy, literary criticism, visual thought. Degas was not a painter alone, but a sculptor, photographer, and poet. Late in his career, Degas turned to poetry as a new language for his artistic expression. Degas valued a multi-faceted form of art, as expression of the doctrine of Synaesthesia, which has been carefully examined and characterised from several vantage points. The creative efforts of the artist were the result of a conscious effort to search for means to revolutionise the philosophical-literary, the figurative thinking that dominated about classical dance. The essay deals with this specific aspect of Degas’s thought about dance, which can be also considered as medium of communication with social and political implications.</p> 2020-06-26T00:00:00+02:00 ##submission.copyrightStatement## Schoenberg nel giardino di George. Il nuovo linguaggio musicale di Schoenberg nei Lieder del “Libro dei Giardini Pensili” op. 15 2020-07-01T10:23:40+02:00 Anna Maria Rastelli <p>This paper focuses on the relation between text and music from the perspective Schoenberg’s reflections in essay “The Relationship to the text” offers. George’s lyrics provoked Schoenberg to cross over the unexplored territory of atonality. The rich sonority of George’s poetry, finds in the songs of <em>The Book of Hanging Gardens</em> counterpart music that goes beyond the limits of the traditional aesthetics of songwriting. With the <em>Georgelieder</em> Schoenberg succeeded in approaching not only a formal and expressive ideal, but a new spatial dimension.</p> 2020-06-26T00:00:00+02:00 ##submission.copyrightStatement## Archivi a confronto per la ricerca sul teatro di danza nell’Ottocento. Sulle tracce di Carlo Blasis a Milano e di August Bournonville a Copenaghen 2020-07-01T10:23:55+02:00 Rita Maria Fabris <p>The comparison between the archives of Nineteenth-century Italian and Danish dance, through the search for traces of Carlo Blasis (1795-1878) in Milan and August Bournonville (1805-1879) in Copenhagen, promotes the recognition of the cultural peculiarities of the two traditions, trasmitted and received in different ways at national and international level, activating different discourses on cultural memory. Italian dance is different from Danish dance because it leaves only fragmentary traces of the dancing bodies, facilitating the permanence of the institutional cultural memory. On the other hand, Bournonville has worked consciously so as not to disperse his work, writing and selecting choregraphic notations, memoires, letters, essays, articles throughout his life, thus earning the art of dance and its artists a recognized social status, favouring in a small territory with isolationist and conservative characteristics both the systematization of his archive and the international diffusion of his repertoire.</p> 2020-06-26T00:00:00+02:00 ##submission.copyrightStatement## Transfigurations littéraires de la danse. Exemples roumains 2020-07-01T10:23:57+02:00 Eleonora Hotineanu <p>This is a groundbreaking study on the literary transfigurations of dance, many and varied, concerning some Romanian examples. The lexical richness, denoting the dance in Romanian — <em>dans</em>, <em>joc</em>, <em>hora</em> — matches the diversity of the ethnic dance — <em>hora</em>, <em>sîrba</em>, <em>Ciuleandra</em>, <em>Căluşarii</em> — ritual or distractive, or with the imaginary / magic dance of iele. All this dancing variation has benefited many Romanian authors (poets, prose writers, playwrights). Even if today the ritual of ancestral dance fades away, literature resurrects it, thus placing dance on the mythical path.</p> 2020-06-26T00:00:00+02:00 ##submission.copyrightStatement## Il “prestigio” delle favole antiche. Proust e la festa barocca 2020-07-01T10:24:00+02:00 Alessandro Metlica <p>This paper focuses on one of the most famous episodes of Marcel Proust’s <em>In Search of Lost Time</em>, that is the great choral scene set at the Opera at the beginning of <em>The Guermantes Way</em> (1920). In these pages a link is established between the drama <em>Phèdre</em>, played on the stage by the actress Berma, and what takes place over the audience, in the boxes where the blue-blooded world of faubourg Saint-Germain is staged. To define the fascination that both representations wield on him, Proust employs the term “prestige:” a word originally rooted in the field of magic, as witnessed by many Grand-Siècle writers as well as by 17th-century dictionaries. By investigating the word’s etymology, the paper shows the reasons why the ‘prestige’ of the aristocratic condition is put on display through mythology. Indeed, in Marcel’s eyes, the Princess of Guermantes becomes a sea goddess, Diana, and Juno. In this respect, <em>The Guermantes Way</em> reproduces, metaphorically, what&nbsp; happened in 16th and 17th-century ballets and festivities, in which those in power played the role of the pagan gods, and wore mythological disguises to embody the most ‘prestigious’ symbolic capital of the West.</p> 2020-06-26T00:00:00+02:00 ##submission.copyrightStatement## “Vamos estoirar dentro de vinte minutos”. Il dialogo sulla estrema soglia nel teatro di Raul Brandão 2020-06-30T17:38:38+02:00 Matteo Rei <p>The Portuguese writer Raul Brandão (1867-1930) was the author of mostly very short plays. The characters in his theatre are the protagonists of exceptional situations, poised between sanity and madness, or between life and death. On the basis of these observations, the study aims to show that some of the author’s theatrical works can be approached to the model of the “dialogue on the extreme threshold”, which was described by Mikhail Bakhtin.</p> 2020-06-26T00:00:00+02:00 ##submission.copyrightStatement## Variabile Salome. Dialogo scenico con musica da Richard Strauss 2020-07-01T10:23:44+02:00 Alberto Rizzuti <p>In the story of Salome many details are missing. Something basically wrapped in darkness is the kind of attraction that drives the young princess towards John the Baptist. Why is she interested in him? Why does she reject Herod’s sensational offer? Why is she so blood-thirsty? This scenic dialogue is an attempt to shed light on the relationship between the two characters, and tries to figure out what they could have told each other, had they had a chance to meet in private, and not — as shown in Wilde’s play and in Strauss’ opera — in presence of Narraboth and other people. The <em>pièce</em> is preceded by a short essay dealing with the historical and literary sources used in the process of creative writing.</p> 2020-06-26T00:00:00+02:00 ##submission.copyrightStatement## Salome fantasia 2020-07-01T10:23:49+02:00 Jean-Pierre Gaudin <p>Richard Strauss has composed a caressing but provocative opera about “Salomé,” with the same huge contrast as the writer Oscar Wilde or the painter Gustave Moreau during the last XIXth century. Considering this, we shall comment relations between art and scandal, especially during the Victorian period. But more generally, we intend to analyse the links and transfers between different arts and sensibilities (poetry, picture, literature, theatre, opera, cinema) concerned by the Salomé myth, with its transformations from the Baroque period to the present time. The drawings included in the text are from the author, Jean-Pierre Gaudin: seven variations on linen paper, already presented in an Italien exhibition in 2019.</p> 2020-06-26T00:00:00+02:00 ##submission.copyrightStatement## La jeune danseuse du temps des anges. L'Histoire 2020-07-01T10:23:51+02:00 Thierry van Eyll <p>She danced at a time when the world was changing. Still a young girl, she loved dancing and animals, but the rest of what she was living at her age often seemed tasteless to her. She dreamed sometimes of being a great lover, sometimes a saint, but her mother counted on her for something else. One evening she was dancing in front of her parents and their guest, and her dance was impressive. However, she still had to look for ideas that would move her dance from improvisation to a more elaborate art. Her mother felt threatened by a preacher who maybe had violent disciples. Considering a sort of preventive revenge, she became threatening herself. The guest presented himself as a possible second arbiter between her and the preacher. The first arbiter, the king, unwilling to release the preacher, exile him, or condemn him to death, was slow to make a decision. The theatre of their confrontation also includes the sequences of a strange oratorio, since a new religion began to convert a few people. New ways of thinking and living would soon prevail. Salomé’s story is our story. It is the beginning of the world that has been ours for two thousand years.</p> 2020-06-26T00:00:00+02:00 ##submission.copyrightStatement## Danse et littérature 2020-07-01T10:23:26+02:00 Sonia Schoonejans <p>To elaborate on the connections between dance and literature means to be confronted with the eternal dilemma between speech and action, between words which enables communication and gestures which enhance it. And whereas many points are in common between the two forms of art - search of shape, construction, rhythm, as well as in vocabulary, step alphabet, ballet grammar, modern dance syntax for dance - noteworthy differences still persist. On one hand, the writer carries out a solitary work free from boundaries and builds an imaginary world with self-imagined rules; on the other, the choreographer is a team leader, which means to be confronted with the real world of the dancers and their bodies or the technical features of the performance.</p> 2020-06-28T18:36:40+02:00 ##submission.copyrightStatement## Teatro sull'Altipiano. Un’esperienza di Teatro Sociale e di Comunità tra le montagne etiopi 2020-07-01T10:24:05+02:00 Viola Zangirolami <p>The article investigates the outcome of a cooperation project, in which two theatre experts work together with thirty-one young actors and actresses from the North of Ethiopia. The aim is using the performing arts as a tool to make awareness of the risks of illegal migration to the Arabian peninsula: a sensitive topic, in that area. The experts are Italian women. The youth are local performers, returnees, peasants, unemployed people. The two parts encounter through theatre, dance and music, learning from each other in unexpected ways.</p> 2020-06-26T00:00:00+02:00 ##submission.copyrightStatement##