L’écran comme vecteur de la mémoire du théâtre
The Screen as Vector of the Memory of Theatre This article shows how Ivo van Hove’s performance Les Damnés, based on Visconti’s film, reuses material from ancient Greek theatre. The stage director introduces the cinematographic idiom with the use of the camera in order to keep the continuity with Vi...
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| Format: | Article |
| Language: | English |
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UArtPres
2021-12-01
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| Series: | Symbolon |
| Subjects: | |
| Online Access: | http://uartpress.ro/journals/index.php/symbolon/article/view/286 |
| _version_ | 1797948053480538112 |
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| author | Despoina Nikiforaki |
| author_facet | Despoina Nikiforaki |
| author_sort | Despoina Nikiforaki |
| collection | DOAJ |
| description | The Screen as Vector of the Memory of Theatre
This article shows how Ivo van Hove’s performance Les Damnés, based on Visconti’s film, reuses material from ancient Greek theatre. The stage director introduces the cinematographic idiom with the use of the camera in order to keep the continuity with Visconti’s film. Members of the Von Essenbeck family are characters bearing resemblance to Agamemnon, Clytemnestra, Orestes, Aegisthus and Creusa, Jason’s new wife. Their actions can be understood and magnified by the simultaneous reading of the Greek tragedies (Oresteia, Orestes, Electra, Medea). Thus, we establish the characters’ ancient nature, which gives them an archetypal consistency, while, by the use of the camera, the stage deepens its insight on them, focusing on the details of their faces and the actors’ work. |
| first_indexed | 2024-04-10T21:36:30Z |
| format | Article |
| id | doaj.art-eb787b6e4b1245d08d8864124f30a86f |
| institution | Directory Open Access Journal |
| issn | 1582-327X 2344-4460 |
| language | English |
| last_indexed | 2024-04-10T21:36:30Z |
| publishDate | 2021-12-01 |
| publisher | UArtPres |
| record_format | Article |
| series | Symbolon |
| spelling | doaj.art-eb787b6e4b1245d08d8864124f30a86f2023-01-19T11:48:13ZengUArtPresSymbolon1582-327X2344-44602021-12-01221 (40)16116610.46522/S.2021.01.14286L’écran comme vecteur de la mémoire du théâtreDespoina Nikiforaki0EHESS-ParisThe Screen as Vector of the Memory of Theatre This article shows how Ivo van Hove’s performance Les Damnés, based on Visconti’s film, reuses material from ancient Greek theatre. The stage director introduces the cinematographic idiom with the use of the camera in order to keep the continuity with Visconti’s film. Members of the Von Essenbeck family are characters bearing resemblance to Agamemnon, Clytemnestra, Orestes, Aegisthus and Creusa, Jason’s new wife. Their actions can be understood and magnified by the simultaneous reading of the Greek tragedies (Oresteia, Orestes, Electra, Medea). Thus, we establish the characters’ ancient nature, which gives them an archetypal consistency, while, by the use of the camera, the stage deepens its insight on them, focusing on the details of their faces and the actors’ work.http://uartpress.ro/journals/index.php/symbolon/article/view/286ancient theatreactor |
| spellingShingle | Despoina Nikiforaki L’écran comme vecteur de la mémoire du théâtre Symbolon ancient theatre actor |
| title | L’écran comme vecteur de la mémoire du théâtre |
| title_full | L’écran comme vecteur de la mémoire du théâtre |
| title_fullStr | L’écran comme vecteur de la mémoire du théâtre |
| title_full_unstemmed | L’écran comme vecteur de la mémoire du théâtre |
| title_short | L’écran comme vecteur de la mémoire du théâtre |
| title_sort | l ecran comme vecteur de la memoire du theatre |
| topic | ancient theatre actor |
| url | http://uartpress.ro/journals/index.php/symbolon/article/view/286 |
| work_keys_str_mv | AT despoinanikiforaki lecrancommevecteurdelamemoiredutheatre |