Rome

  • Attrici d’avanguardia e teatro femminista a Roma negli anni Settanta: nuovi luoghi e linguaggi

    Author: Maia Giacobbe Borelli
    E-mail: 2maiaborelli@gmail.com
    Institution: Progetto ORMETE
    Year of publication: 2019
    Source: Show
    Pages: 257-273
    DOI Address: https://doi.org/10.15804/IW.2019.10.1.28
    PDF: iw/10_2/iw10215.pdf

    AVANT-GARDE ACTRESSES AND FEMINIST THEATRE IN ROME IN THE 1970S: NEW STAGES AND NEW FORMS OF EXPRESSION

    This essay is based on one of the ORMETE (Oralità Memoria Teatro: www.ormete.net) projects: Donne di teatro a Roma ai tempi della mobilitazione femminista (1965-1985). The research shows the inter-relations between the feminist movement and the actresses of the avant-garde scene in Rome. The focus of each of the women’s personal narrations is characterised by its strong and definite feminist or anti-conformist identity and by its determination to channel its own imagery in the experimental scene of the avant-garde. Many of the women gathered in feminist companies or joined collective groups; some ventured the road of dramaturgy, while still others dared more alternative, experimental kinds of solo performances. This text sheds light on a variety of alternative spaces for performances in Rome. It is there where these new forms of theatrical expressions were born.

  • Podróż kardynała von Hessen-Darmstadt z Rzymu do Wrocławia i jej artystyczna oprawa

    Author: Arkadiusz Wojtyła
    Institution: Uniwersytet Wrocławski
    Year of publication: 2014
    Source: Show
    Pages: 107-121
    DOI Address: https://doi.org/10.15804/IW.2014.05.04
    PDF: iw/05/iw504.pdf

    THE JOURNEY OF CARDINAL VON HESSEN-DARMSTADT FROM ROME TO WROCŁAW AND ITS ARTISTIC MILIEU

    The aim of this paper is to present the report on the journey of Cardinal Friedrich of Hessen-Darmstadt from Rome to Wrocław, undertaken in 1676 to assume governorship of Silesia and real power over the diocese of Wrocław. The report, published in this city soon after the completion of his journey, is now preserved in the Old Prints Department of the Wrocław University Library. This source contributes new facts from the biography of the cardinal - the founder of the famous St. Elisabeth Chapel alongside the Cathedral of Wrocław, decorated with statues sculpted in Rome. During his journey to Silesia, Friedrich of Hessen-Darmstadt stayed with his retinue in Loreto, Verona and Trento, entertained everywhere with great pomp and ceremony. Then he went to Vienna, where he took part in imperial audiences and was granted the title “Durchlauchtigst”. At the end of his journey he went to Nysa and from there to Wrocław. From the art history point of view this travelogue contributes information about the “occasional architecture” and the decoration of the churches in Nysa and Wrocław, liturgical vestments and vessels, and about costumes and vehicles of Silesian dignitaries. From the literature on the subject we know that on the occasion of the arrival of the cardinal to Wrocław three new doors to the local cathedral were founded. The main entrance doors were decorated with relief depicting Jacob’s Dream and Joseph in a Well. In the light of the appropriate biblical quotations and commentaries on them these scenes illustrate the idea of the gate to the heavenly Jerusalem as well as the symbolical transition from the sphere of death to the realm of life.

  • Cineci' à w Rzymie - kompleks filmowy, muzealny i technologiczny

    Author: Małgorzata Magdalena Lisiecka-Muniak
    E-mail: margaretlisiecka@gmail.com
    Institution: Państwowa Wyższa Szkoła Filmowa, Telewizyjna i Teatralna w Łodzi
    ORCID: https://orcid.org/0000-0003-0841-0904
    Year of publication: 2021
    Source: Show
    Pages: 109-121
    DOI Address: https://doi.org/10.15804/kie.2021.01.06
    PDF: kie/131/kie13106.pdf

    The article presents the history and current activities of Cinecittà in Rome, one of the most important film companies in the world, also known as „Hollywood on the Tiber”. The author draws attention to the fact that the research up to date has focused mainly on Italian cinema, while Cinecittà appears as a supplement to the critical analysis of that cinematography. Starting from the history of the production company, what dates back to 30’s of the XX century, the author shows how the Roman film town has changed over the years and what its legal situation is like. The next chapter describes the current activities of Cinecittà, where runs a professional film and television studio, which produces films, series, commercials, music videos, commercial events; a museum (Cinecittà si mostra) and an important and internatrional cultural institution (Istituto Luce) with educational and promotional range. The considerations are complemented with examples of films produced in the company. Summing up, the author suggests that Cinecittà deserves a separate and insightful elaboration, which does not still exist in Polish language.

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