Articolo
Abstract
Staging a play about the Holocaust in Europe, and particularly so in Italy, presents many challenges, – especially if the play is so rich in meaning and full of Jewish references as Tabori’s The Cannibals. Tabori himself worked in Italy, and many of his plays have found their way to the stage – but with what results? Has his work been understood, or rather misconstrued? Discussing a few examples of the most famous Italian stage productions of Tabori’s plays, and drawing on the experience of staging of Tabori for Italy’s first Remembrance Day of the Shoah, this paper deals with the issues that arise working with Italian actors in a theatrical context that forces actors and audiences to face their own emotions and taboos.
In questo numero
- Premessa
- Autodafé
- George Tabori: elogio dello straniero
- L’eterno tabù dell’antropofagia. «I cannibali» di George Tabori
- Tabori, di umore shakespeariano
- «My Mother’s Courage» e gli esperimenti teatrali di Tabori a Monaco
- Tabori il Saggio. Quel che resta di Lessing
- Tabori e Wiener Schnitzel. La ballata del vecchio asburgico
- Poesia e non-verità. Tabori fra autobiografia e autorappresentazione
- Tabori e tabù. Mettere in scena Tabori in Italia
- Saggi
- Recensioni
- Abstracts
- Autori