by Guido Paduano,
director of Dioniso,
magazine of the INDA Foundation
Since 2011, the prestigious magazine has renewed its structure under Guido Paduano’s direction.
In 2014 the III number of the new series was released.
From the editorial of the new series number 1 by director Guido Paduano
“ What we deal with, ancient Theatre, is first of all an oxymoron. There is, in fact, no theatre that is not present and living in the experience of the plays, thanks to the peculiar status of the only form of art that involves the spatial-temporal coexistence of production and use. Its founding structure, dramatic time, coincides with the biotic time of the actors and spectators, whose emotional identification is quantitatively and qualitatively enhanced compared to any other aesthetic vehicle. Those who study the theatre should always remember – above all we classical philologists should remember that due to our cultural habits, we are always tempted to limit ourselves to the linguistic-literary phenomenon – its nature of ircocervo, synthesis of a pre-existing and stable factor over time (the script) and of a variable factor, the staging, where the original creativity of the author of the script meets each time, in different historical situations, the equally strong creativity of the directors, (superordinate, but not exclusive to that of actors, set designers, etc.). While I do not find the term script inadequate also for the venerable texts of our culture, for Antigone or for Hamlet, I would however like to point out that even if the two factors are mutually essential, it does not mean that to enjoy theatre you have to physically go to the theatre. Rather, it follows that the correct reading of a script is the one that assumes its words in the specific and exclusive perspective of a virtual staging, of a theatre of the mind which is what Aristotle (often and wrongly accused of text- centrism) attributes as obligatory to the poet in Poetics 1455 to 21-28: We need to compose the plots and provide them with diction, keeping them as much as possible in front of the eyes. This way, seeing with the utmost clarity as if one were in the midst of those actions, one can find what is convenient and the contradictions will escape less. The proof is the accusation against Carcino. Anfiarao was returning from the temple, element that was missed not seeing him, but he was not successful on the scene because this annoyed the spectators. It is only necessary to add, as a peculiarity of ancient theatre, that it lacks that subsidiary channel to the transition between script and staging which takes the name of caption, and in subsequent theatres it assumes great importance, if only in being evaded or transgressed. The scenographic placement, the gestures, the iconic and proxemic messages are all reabsorbed in the recited (or even sung) word. In general, the mentioned transition cannot be codified, since that’s in it that the director exercises its creativity; in my opinion it is however important to establish that its scope is not endless but on the contrary bounded by two principles, one of which represents the specific application of the other. The general principle is that the relationship between two realities is given only on condition that both have an effective presence in it (otherwise one would be used as a mere pretext for the other, and would be replaceable ad libitum); the specific principle has as its starting point the fact that even in its independence the staging is still in some way an interpretation of the text. But hermeneutics is a science provided that its data are falsifiable, meaning that impossible or wrong interpretations can be conceived (and therefore also impossible and wrong directions) […]. The judgment towards the protagonist of a tragedy is perhaps the textual data that most demands respect, if we consider that it acts as a regulatory axis of the conflict that lies at the center of the dramatic story and defines it ”.
Committee | Massimo Cacciari, Bruno Cagli, Luciano Canfora, Giovanni Cerri, Maria Grazia Ciani, Giulio Ferroni, Erika Fischer- Lichte, Hellmut Flashar, Helene Foley, Nadia Fusini, Delia Gambelli, Mario Martone, Marianne McDonald, Carles Miralles, Bernd Seiden- sticker, Richard Tarrant, Giuseppe Voza
Editorial Board Committee | Elena Maria Fabbro (Università di Udine), Massimo Fusillo (Università dell’Aquila), Alessandro Grilli (Università di Pisa), Maria Serena Mirto (Università di Pisa), Caterina Mordeglia (Università di Trento), Maria Pia Pattoni (Università Cattolica del Sacro Cuore, Brescia), Gianna Petrone (Università di Palermo)
Secretariat | Elena Servito
Editing responsible | Silvia Galasso
Quaderni di Dioniso 1
Atti dei Convegni
Vendetta e Giustizia nell’Orestea, Siracusa, 6 – 7 maggio 2008
P.P.Pasolini, poeta civile, Siracusa, 26 maggio 2008
a cura di Gianfranco Nuzzo
con la collaborazione di Fernando Balestra e Giuseppina Norcia
“One Vote only”: the Areopagos’ Verdict in Aeschylus’ Eumenides
Ifigenia e Cassandra
“The House itself,if it got a Voice….”
L’Orestea secondo Pasolini: l’utopia di una sintesi
Orestea, da Eschilo a Pasolini: la parola alla polis
Orestea, allestimenti e nuove questioni
‘La storia incomincia là dove finisce”. Fascinazione per l’antico e impegno nel presente
“Niente è più possibile, ormai”. Sostituzione e oggetto del desiderio nella Medea di Pasolini
L’albero delle parole
Sincerità e umanità di Pasolini
Un percorso attraverso le immagini
Quaderni di Dioniso 3
FORMA E FUNZIONE DEL CORO NEGLI SPETTACOLI CLASSICI
AL TEATRO GRECO DI SIRACUSA (1914-1948)
1914-1921: “NASCITA DELLA TRAGEDIA” A SIRACUSA
1922-1921: IL CORO “VELARIO SONORO” E “FREGIO ELLENICO”
Edipo re e Baccanti 1922
Sette a Tebe e Antigone 1924
1930 -1939 “REALIZZARE UN PIU’ PRECISO FANTASMA DEL SOGNO ANTICO”
Agamennone e Ifigenia in Aulide 1930
Trachinie e Ifigenia in Tauride 1933
Edipo a Colono e Ippolito 1936
Aiace e Ecuba 1939
1948: “IL TRIONFO DEL LOGOS”
Schede degli spettacoli INDA 1914-1948
In 1929 the publication began to take the form of a magazine with a periodicity of six bimonthly issues; in 1931 the magazine “Dioniso” was born with the caption “Dioniso.“ Bulletin of the National Institute of Ancient Drama “. The editorial staff was composed by the archaeologist Biagio Pace (president of the Institute), and well-known scholars such as Ettore Bignone, G. Alfredo Cesareo, Nicola Festa. Compared to the previous publication, “Dioniso” immediately became a specialized magazine – substantially released, from a thematic point of view, from the current theatre season – and hosted contributions of classical philology and literary criticism, archeology studies, reviews, essays on topics of classical tradition. The magazine maintained the same line in the 1950s and 1960s under Raffaele Cantarella’s twenty-year direction. In 1960, from “Bulletin of the National Institute of Ancient Drama”, the magazine “Dionysus” became “Quarterly of studies on ancient drama” although the quarterly was respected in the numbering rather than in the issues. Under the heading of “Steering Committee” (and, then, Editorial Committee) we find Paolo Enrico Arias, Raffaele Cantarella, Giacopo Caputo, Quintino Cataudella, Francesco Della Corte, Vittorio De Falco, Eugenio Della Valle, Santo Mazzarino, Ettore Paratore, Nino Sammartano (commissioner of the Institute), Manara Valgimigli. This edition restored an important relationship with the theatrical season, reserving a conspicuous space for Aeschylus precisely in the year of the staging of the entire Orestiade, to which a conference was dedicated, and its proceedings were published. This issue of “Dioniso” also hosted set photos of the play directed by the Gassmann-Lucignani duo, with an editorial choice that recalled the first publications of the Committee. The Proceedings of the International Congresses of Studies on Ancient Drama published in the volumes of 1965, 1967, 1969 were also printed.
After a period of institutional crisis of the INDA, the following publication resumed in 1975 with volume XLV, 1971-74, including the proceedings of the IV International Congress of Studies on Ancient Drama. In 1976 the magazine gave up the quarterly direction, and was named “Review of studies on ancient theatre”; the publication of the Proceedings of the International Congresses also continued. In 1989 substantial changes were introduced in the magazine, directed – since the late 1970s – by Giusto Monaco and Dario Del Corno. It was, in fact, decided to give it a new structure, dividing the volume into two annual publications every six months; the first part of each issue contained philological and theatrological contributions, the second reviews and experiences related to the theatre in progress, with the intention of informing the reader about performances and reinterpretations of texts from the ancient Greek and Latin repertoire through reviews or reports by collaborators and theatre experts. The introductory programmatic note to the first issue of this series clearly expressed the search for a “position of theatrical militancy”, which allowed “to approach the ancient theatrical sector in the double aspect of the word to be interpreted in its theatrical and philological dimension, and of word understood as a “pre-text”, and therefore meant to deal with a scene, a space, a performance ”. In the same year the proceedings of the XII International Congress of Ancient Drama were published. The publication continued until 1994 and, after a hiatus of six years, resumed in 2002, in a renewed form, as the annual magazine of the INDA Foundation. In this new version, between 2002 and 2008, six volumes were published, edited by the Palumbo publishing house, under the direction of Giusto Picone. The editorial committee was composed by Angela Andrisano, Caterina Barone, Oscar Belvedere, Gianni Guastella, Olimpia Imperio, Giuseppina Sartorio Pisani, Nicola Savarese, Maria Clara Ruggieri Tricoli. The magazine initially included three thematic sections (“Texts”, “Scene”, “Monuments”) respectively dedicated to Greek-Latin dramaturgy themes, interventions on the theoretical problems of staging ancient texts, purely archaeological and museographic issues. In 2006 it was decided to add a specific space dedicated to the study of the classical tradition, the section “After Antiquity” which hosted both contributions dedicated to the traditional themes of the “fortune of the ancient”, and broader reflections on the cultural filters through which the ancient Theatre has been read and reinterpreted in modern and contemporary culture. The sixth volume of the new Dionysus series, published in 2008, also contained the proceedings of the INDA conference “Cry and laughter in Greek and Latin theatre” (25-28 September 2003).
After an interruption of a few years, a new series began with the 2011 issue. The magazine is directed by Guido Paduano, has a scientific Committee composed by Remo Bodei, Massimo Cacciari, Bruno Cagli, Luciano Canfora, Giovanni Cerri, Maria Grazia Ciani , Giulio Ferroni, Erika Fischer- Lichte, Hellmut Flashar, Helene Foley, Nadia Fusini, Delia Gambelli, Mario Martone, Marianne McDonald, Carles Miralles, Bernd Seidensticker, Richard Tarrant, Alfonso Traina, Giuseppe Voza. The members of the editorial Board are Anna Beltrametti, Elena Fabbro, Massimo Fusillo, Alessandro Grilli, Serena Mirto, Maria Pia Pattoni, Alessandra Pedersoli, Gianna Petrone, Stefania Rimini, Elena Rossi, Margherita Rubino.
The magazine is published annually, with peer-reviewed contributions on ancient theatre, on its fortune in modern age and problems related to staging.
After this issue a pause due to the outbreak of the First World War followed until 1921, the year in which the publication of a periodical bulletin entitled “Classical plays at the Greek Theatre of Siracusa” resumed. The publications were edited by the Committee up to the April-May 1924 bulletin, and then by the National Institute of Ancient Drama starting from the resumption of the publication of the new issue of June 1928.
In 1928 four issues were published. In 1929 the publication began to take the form of a magazine with a periodicity of six bimonthly issues and finally since 1931 it took the name ‘Dionysus’. Also in 1929, the INDA, following an agreement with the Swets and Zeitlinger N. V. Company of Amsterdam to reprint and republish the dossier of Dionysus collected in volumes, decided to start again the numbering with volume 1. Since each volume included six issues from 1929 to 1942, following the war pause which lasted from 1943 to ’46, 9 volumes instead of 14 were published and the last of 1942 included only 3 dossiers. In 1947 the publications resumed with the vol. X ‘new series’ with the desire to match year and volume. The issues were reduced to four per year even if the expected pace was often not respected and it happened that a single dossier was valid for two issues. In any case, the publication continued until 1959 with vol. XXII. Since 1960 from ‘Bulletin of the National Institute of Ancient Drama’ the magazine became ‘Quarterly of studies on ancient drama’, and according to a numbering by year, this volume, as a single volume, i.e. not divided into issues, was marked as year XXXIV ; so up to 1970 as volume XLIV was again divided into 4 issues. The quarterly was respected only in the numbering, the 1965, 1967 and 1969 volumes were dedicated to the publication of the Proceedings of the International Congresses of Studies on Ancient Drama. Following a period of institutional crisis of INDA, subsequent publication will resume in 1975 with volume XLV, 1971-74, therefore numbered as a volume and not as a year, including the proceedings of the IV International Congress of Studies on Ancient Drama; the subsequent volumes XLVI-L returned instead to correspond to one year each. The difficulties that arose between the 60s and 70s were smoothed out with the decision to call volumes 33-44 the ones numbered according to the years, with the drawback, however, of a gap in the collection which was composed as follows:
Voll. 1-9 from 1929 to 1942
Voll. 10-22 new series from 1947 to 1959
Voll. 34-50 from 1960 to 1979.
In 1976 the magazine renounced the quarterly periodicity, and took the subtitle ‘Review of studies on ancient Theatre’; the vols. 46, 48, 50, 52, 54, 55, 57 publish the Proceedings of the International Congresses of Studies on ancient Drama. In 1989 it was decided to divide the volume into two annual installments every six months. Volume LIX of 1989 also contains the proceedings of the XII International Congress of ancient Drama. The publication thus continued until 1994, and after a six-year interruption it resumed in 2002 with the publication of the congresses held in 1995 and 1997 and also, in a renewed form, as an annual magazine of the INDA Foundation of which, between 2002 and 2008 six volumes are published. The new series was inaugurated in 2011 under the direction of Guido Paduano.