Carnefice o spettatore? L’ingaggio spettatoriale in The Repetition. Histoire(s) du théâtre di Milo Rau

Starting from the idea that every single work of art is perceived through not only our senses but also our mind, and that the theatrical event is a privileged occasion during which the cognitive world is connected with the emotional dimension of the individual, creating an interaction between emotio...

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Main Author: Ester Fuoco
Format: Article
Language:deu
Published: Università degli Studi di Ferrara 2019-12-01
Series:Annali Online dell'Università di Ferrara. Sezione Lettere
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author Ester Fuoco
author_facet Ester Fuoco
author_sort Ester Fuoco
collection DOAJ
description Starting from the idea that every single work of art is perceived through not only our senses but also our mind, and that the theatrical event is a privileged occasion during which the cognitive world is connected with the emotional dimension of the individual, creating an interaction between emotional experiences and critical learnings that allows for a development of the emotional intelligence, the aim of this paper is to try to describe the spectatorial engagement, prompted by the contemporary theatrical representation of the Evil. Specifically, taking as basis for the consideration the play The Repetition. Histoire(s) du théâtre, first chapter of the series Histoire(s) du théâtre dedicated to the theatrical essence – the tragedy, in this case – of Milo Rau.
format Article
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institution DOAJ
issn 1826-803X
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publishDate 2019-12-01
publisher Università degli Studi di Ferrara
record_format Article
series Annali Online dell'Università di Ferrara. Sezione Lettere
spelling doaj-art-3a157f5e16534b73a8f1814fa57bdf9c2025-08-20T02:45:42ZdeuUniversità degli Studi di FerraraAnnali Online dell'Università di Ferrara. Sezione Lettere1826-803X2019-12-01XIV119135https://doi.org/10.15160/1826-803X/2202Carnefice o spettatore? L’ingaggio spettatoriale in The Repetition. Histoire(s) du théâtre di Milo RauEster Fuoco0Università degli Studi di GenovaStarting from the idea that every single work of art is perceived through not only our senses but also our mind, and that the theatrical event is a privileged occasion during which the cognitive world is connected with the emotional dimension of the individual, creating an interaction between emotional experiences and critical learnings that allows for a development of the emotional intelligence, the aim of this paper is to try to describe the spectatorial engagement, prompted by the contemporary theatrical representation of the Evil. Specifically, taking as basis for the consideration the play The Repetition. Histoire(s) du théâtre, first chapter of the series Histoire(s) du théâtre dedicated to the theatrical essence – the tragedy, in this case – of Milo Rau.theatredocu-fictionaestheticsre-enactementperformance
spellingShingle Ester Fuoco
Carnefice o spettatore? L’ingaggio spettatoriale in The Repetition. Histoire(s) du théâtre di Milo Rau
Annali Online dell'Università di Ferrara. Sezione Lettere
theatre
docu-fiction
aesthetics
re-enactement
performance
title Carnefice o spettatore? L’ingaggio spettatoriale in The Repetition. Histoire(s) du théâtre di Milo Rau
title_full Carnefice o spettatore? L’ingaggio spettatoriale in The Repetition. Histoire(s) du théâtre di Milo Rau
title_fullStr Carnefice o spettatore? L’ingaggio spettatoriale in The Repetition. Histoire(s) du théâtre di Milo Rau
title_full_unstemmed Carnefice o spettatore? L’ingaggio spettatoriale in The Repetition. Histoire(s) du théâtre di Milo Rau
title_short Carnefice o spettatore? L’ingaggio spettatoriale in The Repetition. Histoire(s) du théâtre di Milo Rau
title_sort carnefice o spettatore l ingaggio spettatoriale in the repetition histoire s du theatre di milo rau
topic theatre
docu-fiction
aesthetics
re-enactement
performance
work_keys_str_mv AT esterfuoco carneficeospettatorelingaggiospettatorialeintherepetitionhistoiresdutheatredimilorau