2008
This document is linked to :
Intermédialités : Histoire et théorie des arts, des lettres et des techniques ; no. 12 (2008)
Tous droits réservés © Revue Intermédialités, 2009
Erica Magris, « Le « projet multithéâtral » : Transformations intermédiales des scènes italiennes contemporaines », Intermédialités: Histoire et théorie des arts, des lettres et des techniques / Intermediality: History and Theory of the Arts, Literature and Technologies, ID : 10.7202/039231ar
This article discusses a theatre creation process which has been systematized by the experimental Italian companies of the “Generation 90,” at the beginning of the 21st century, and whose name would be, as we propose, “Multitheater Project”: the theatre artist conceives creation as creative process, whether of long or of medium duration, in which he moves forward step by step, not only by producing shows, but also by working with other artistic media. In regard to the history of companies, the application of such a working method happens with the affirmation of the use of digital technologies of sound and vision. In this article, we will raise issues about the relationships between the “Multitheater Project” and digital intermediality in theatres, by considering two examples: the L’ospite project (Le visiteur, 2003-2004), produced by Daniela Nicolò and Enrico Casagrande’s Motus company and inspired by Pier Paolo Pasolini’s Petrolio (Pétrole, 1972-1975) and Teorema (Théorème, 1968), and the Ada, cronaca familiare project (Ada, chronique familiale, 2002-2006), produced by Chiara Lagani and Luigi De Angelis’ Fanny & Alexander company, based on Vladimir Nabokov’s novel Ada or Ardor: a Family Chronicle (Ada ou l’ardeur, 1969).