After the Second World War a new phase began in the reception of García Lorca's works in Italy. As far as dramatic texts are concerned, in September 1946 the first translation of La casa de Bernarda Alba by Amedeo Recanati appeared in the journal Il Dramma. The first Italian theatrical production, which was put on in Milan (Teatro Nuovo) in May 1947 by a company directed by Vito Pandolfi and assembled specifically for the show, was based on Recanati’s text. This was only the first and very timely version of a series of proposals that would unfold over the decades. A very important one would be held at the “Piccolo di Milano” in April 1955, directed by Giorgio Strehler, on the basis of Vittorio Bodini’s translation. The paper intends to focus on Pandolfi’s production and the reaction that it caused, contextualizing them in their cultural framework, after the world premiere of the play in Buenos Aires in March 1945 by Margarita Xirgu.
Nel dopoguerra si apre una nuova fase nella ricezione dell’opera di García Lorca in Italia. In ambito teatrale, nel settembre del 1946 appare sulla rivista Il Dramma la prima traduzione de La casa de Bernarda Alba, firmata da Amedeo Recanati. Su di essa si basa, nel maggio dell’anno dopo, il primo allestimento italiano, realizzato a Milano (Teatro Nuovo) da una compagnia costituitasi appositamente e diretta da Vito Pandolfi. Sarà solo la prima versione, assai tempestiva, di una serie di proposte che si dispiegherà nel corso dei decenni; una, rilevantissima, vedrà la luce al Piccolo di Milano nell’aprile 1955, ad opera di Giorgio Strehler, su traduzione di Vittorio Bodini. Lo studio intende mettere a fuoco l’allestimento di Pandolfi e l’accoglienza che ebbe, contestualizzandoli nella cornice culturale e ideologica del tempo, dopo il debutto mondiale della pièce a Buenos Aires nel marzo del 1945 ad opera di Margarita Xirgu.
“La casa di Bernarda Alba in Italia: l’allestimento di Vito Pandolfi (1947)”
DI PASTENA, Enrico
2019-01-01
Abstract
After the Second World War a new phase began in the reception of García Lorca's works in Italy. As far as dramatic texts are concerned, in September 1946 the first translation of La casa de Bernarda Alba by Amedeo Recanati appeared in the journal Il Dramma. The first Italian theatrical production, which was put on in Milan (Teatro Nuovo) in May 1947 by a company directed by Vito Pandolfi and assembled specifically for the show, was based on Recanati’s text. This was only the first and very timely version of a series of proposals that would unfold over the decades. A very important one would be held at the “Piccolo di Milano” in April 1955, directed by Giorgio Strehler, on the basis of Vittorio Bodini’s translation. The paper intends to focus on Pandolfi’s production and the reaction that it caused, contextualizing them in their cultural framework, after the world premiere of the play in Buenos Aires in March 1945 by Margarita Xirgu.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
