ABSTRACT
Actor memoirs enjoyed particular momentum in the nineteenth century, when the great actors of the Italian stage turned to the written page to continue the dialogue with their audiences, leaving us a precious testimony of their art. Adelaide Ristori published her Ricordi e studi artistici (Turin-Naples 1887), a fundamental work for analyzing the characters played by the great actress during a long and successful career on stages around the world. It was followed by Ernesto Rossi with Quarant’anni di vita artistica (Florence 1887-1890) and Tommaso Salvini with his Ricordi aneddoti ed impressioni (Milan 1895). But there is also a secondary, no less important, memoir by actors, who write about colleagues who are illustrious for having worked with them and observed them closely, such as Luigi Bonazzi, author of Gustavo Modena e l’arte sua (Perugia 1865), and Luigi Rasi, who wrote La Duse (Florence 1901), the first monograph on the great actress. Contemporary memoirs of actors prefer to focus on the autobiographical narrative, in which anecdotes abound, rather than focusing on the description of the characters played, and so the authorship of actresses and actors has given way to the authority of directors.
BIOGRAFIA
Alessandro Tinterri attualmente dirige il Museo Biblioteca dell’Attore, dove aveva già lavorato dal 1979 al 2004, prima di insegnare Storia del teatro e Storia e analisi del film all’Università di Perugia (1999-2023). Storico del teatro di Otto e Novecento, curatore delle opere di Savinio e Sergio Tofano per Adelphi, è autore di Savinio e lo spettacolo (Il Mulino 1993 e Cuepress 2018) e con Alessandro d’Amico di Pirandello capocomico (Sellerio 1997). Tra i titoli apparsi nella Collana Morlacchi Spettacolo, da lui creata a Perugia nel 2006: Arlecchino a Palazzo Venezia (2011) e Fotogrammi (2012).
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