The catchphrases of the Witches, folk reminiscence and at the same time astute spectacular resource (which not by chance will give rise to sung and danced acts until the whole nineteenth century - often nude look), is actually more than an act; it works, in fact, as an extradiegetic engine of history, offering us a metatheatrical interpretation key for the whole drama, so that in front of the unsolicited prophecy not only Macbeth is caught, but immediately each of us spectators: this is the equivocation of the theatre
L'equivocation cui Shakespeare allude nella scena del Porter (quella dei cospiratori della congiura delle polveri) si può in ultima analisi associare al gioco del metateatro, fin da principio fondante il plot del Macbeth attraverso la profezia (non richiesta e insieme ineludibile) delle streghe, cui il pubblico è chiamato a rispondere insieme al (da) protagonista.
“Fair is foul, and foul is fair”: il teatro come equivocation
Roberto Cuppone
2019-01-01
Abstract
The catchphrases of the Witches, folk reminiscence and at the same time astute spectacular resource (which not by chance will give rise to sung and danced acts until the whole nineteenth century - often nude look), is actually more than an act; it works, in fact, as an extradiegetic engine of history, offering us a metatheatrical interpretation key for the whole drama, so that in front of the unsolicited prophecy not only Macbeth is caught, but immediately each of us spectators: this is the equivocation of the theatreFile | Dimensione | Formato | |
---|---|---|---|
Cuppone, Fair is foul and foul is fair.pdf
accesso chiuso
Tipologia:
Documento in Post-print
Dimensione
293.81 kB
Formato
Adobe PDF
|
293.81 kB | Adobe PDF | Visualizza/Apri Richiedi una copia |
I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.