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La regina delle scene e l’imperatore spettatore. Sull’amicizia della Ristori con D. Pedro di Orleans e Bragança
Adelaide Ristori inaugurated the transatlantic route, triumphing for half a century in theatres around the world and earning the title of ‘queen of the scenes’ endorsed by D. Pedro II, emperor of Brazil. They cultivated an intense friendship, mostly epistolary. They wrote to each other about literature, common acquaintances and travels; however, the actress freely expressed her opinions on current events, while the emperor preferred to comment on performances, acting styles and new repertoires. Observers of an era that saw the end of the Empire in Brazil and the construction of a united Italy, they shared a romantic gaze that did not exclude a heated curiosity about the politics of the present. The public role that Ristori assumed, not giving up being her role as first actress in order to be wife and mother as well as marquise, constituted a model of female emancipation that changed the social perception of the profession. The fact that as ‘queen of the scenes’ she was honoured by kings and emperors gave her a kind of soft power that Cavour valued as a ‘patriotic apostolate’. The diplomatic mission that Ristori took on contributed to the formation of an Italian national identity and was not out of place at the Brazilian court. Showing admiration for the dramatic art, D. Pedro a progressive and cosmopolitan government project, but firmly anchored in European culture. According to him, he was inspired by the ‘enlightened’ government of the Savoys, whom he also approached through Ristori.
Journal Article
Anything-but-ordinary Addie : the true story of Adelaide Herrmann, queen of magic
\"Some girls are perfectly happy never doing anything out of the ordinary. But Addie was anything but ordinary: she longed for thrills and excitement. At a time when a young lady appearing onstage was considered most unusual, Addie defied convention and became a dancer. And when she married the world-famous magician Herrmann the Great, she knew she had to be part of his show\"--Amazon.com.
Book
Per una filologia del copione: Adelaide Ristori e ‘Lady Macbeth’
Adelaide Ristori’s Macbeth is an interesting object for a study in the field of theatrical philology. In Ristori’s Archive at Museo Biblioteca dell’Attore in Genoa there are in fact many unpublished and little-valued materials which can be profitably used for the reconstructions of the metamorphosis of Ristori’s Macbeth over the 30 years that elapse between its complex (and still obscure) creation and its last performance. In fact, among the more than five hundred different dramaturgical writings kept in the Ristori Archive there is a vast section dedicated to Macbeth and its rewritings that meticulously documents the various phases of the work’s life. These materials, usually accompanied by epistolary, autobiographical, critical and iconographic documents, are here placed at the centre of the investigation, organised and interrogated with the tools of textual philology. The study of the literary materials relating to Macbeth provides a solid basis for the reconstruction of the scenic writing of the play and thus of Ristori’s work on the script, her cultural interests, the organisational system of her company and the network of international relations that sustained the editorial and compositional dynamics of her performances.
Journal Article
Religious Imaginaries
Religious Imaginariesexplores liturgical practice as formative for how three Victorian women poets imagined the world and their place in it and, consequently, for how they developed their creative and critical religious poetics. In doing so, this new study rethinks several assumptions in the field: that Victorian women's faith commitments tend to limit creativity; that the contours of church experiences matter little for understanding religious poetry; and that gender is more significant than liturgy in shaping women's religious poetry.Exploring the import of bodily experience for spiritual, emotional, and cognitive forms of knowing, Karen Dieleman explains and clarifies the deep orientations of different strands of nineteenth-century Christianity, such as Congregationalism's high regard for verbal proclamation, Anglicanism and Anglo-Catholicism's valuation of manifestation, and revivalist Roman Catholicism's recuperation of an affective aesthetic. Looking specifically at Elizabeth Barrett Browning, Christina Rossetti, and Adelaide Procter as astute participants in their chosen strands of Christianity, Dieleman reveals the subtle textures of these women's religious poetry: the different voices, genres, and aesthetics they create in response to their worship experiences. Part recuperation, part reinterpretation, Dieleman's readings highlight each poet's innovative religious poetics.Dieleman devotes two chapters to each of the three poets: the first chapter in each pair delineates the poet's denominational practices and commitments; the second reads the corresponding poetry.Religious Imaginarieshas appeal for scholars of Victorian literary criticism and scholars of Victorian religion, supporting its theoretical paradigm by digging deeply into primary sources associated with the actual churches in which the poets worshipped, detailing not only the liturgical practices but also the architectural environments that influenced the worshipper's formation. By going far beyond descriptions of various doctrinal positions, this research significantly deepens our critical understanding of Victorian Christianity and the culture it influenced.
eBook
«Tragedy and Ristori will die the same day». Contributions on the death of Romantic tragedy and the birth of art theatre in Portugal
«Tragedy and Ristori will die the same day». This is how António Feliciano de Castilho, the infamous ultra-Romantic Portuguese writer and polemist, refers to the great Adelaide Ristori, in an inflated article published in the «Revista Contemporanea de Portugal e Brazil» in 1859. Ristori was in Lisbon – for her premiere in Portugal – to present Montabelli’s adaptation of Medea at the National Theatre of São Carlos. Castilho, in eight full pages, depicts an elegant, hyperbolic short biography of the Italian actress, portrayed emphatically as the great muse Melpômene. This Romantic way to address the art of acting – exaggerated, elusive, emotional, immensely subjective – was standard in 19th century theatre criticism. Ristori was received in Portugal with the same ardour. This essay examines the way Ristori was receive by some Portuguese press, in 1859; and evaluates the critical discourse that encapsulates the way the ‘Grande Attore’ was perceived. This exercise will help to characterize the emergent Portuguese theatre criticism at the mid nineteenth century; as well as to compare the way other Portuguese actresses and Ristori were ‘criticised’ and elaborate on the way we can understand this anti-academism and the non-scientific approach to theatre as reasons to the death of Romantic tragedy and the birth of the Théâtre d’Art in Portugal.
Journal Article
La composizione di ‘Camma’ nel carteggio tra Adelaide Ristori, Giuseppe Montanelli e Lauretta Cipriani Parra
Among Adelaide Ristori’s great successes, Camma, premiered in Paris on April 23rd, 1857, was written for her by Giuseppe Montanelli. From the perspective of a dramaturgical investigation into how a Grande Attrice chose and construct her repertoire, the correspondence between Montanelli and Ristori is an important case study: the author sends the various acts of the tragedy, as they were completed, to the actress, who gradually comments on their value and offers suggestions for their better stage success, well aware of the strategies to best enhance her own abilities and the expectations of the audience. Ristori’s answers, always lucid, focused and decisive, allow us to recognize to what extent a Grande Attrice would intervene on a text, tailor-made for her, considering her strengths and abilities. Thus, this essay is about the compositional strategies of the textual score and is based on an in-depth reading of the correspondence, investigated especially with regard to the actress’s interventions, whose actual realisation and success are then compared with the final script and the review of the tragedy’s outcome with audiences and critics.
Journal Article
Fanny Sadowski: una rivale della Ristori
This essay investigates the actress Fanny Sadowski, whose stile was opposite to that of Ristori and who was highly considered by her contemporaries. Her career is compared to that of Ristori starting from the portrait offered by Leone Fortis in the 1888 introduction to his Cuore ed arte, written in 1852 for Sadowski. Born a few years apart, both married to aristocrats, both died in 1906, they developed their careers in the opposite directions of a new internationalism (Ristori) and a stabilisation in a precise cultural context (Naples for Sadowski). This context, crossed by Ristori in three successive tours, is chosen to set in motion the canonical image of the actress-marquise, observing her in contrast to her rival, Queen of Naples as she was within and beyond Europe. The basis of this essay is the documentation collected for an entry on Sadowski for the Dizionario biografico degli italiani, combined with research in the Fondo Ristori in the Museo Biblioteca dell’Attore in Genoa, about direct and indirect encounters between the two actresses. Fanny Sadowski, whose style would mirror in Eleonora Duse, reveals to be an important actress of her time, capable of exerting profound and lasting influences.ma e Adelaide Ristori. Nate a pochi anni di distanza, entrambe sposate con aristocratici, morte entrambe nel 1906, svilupparono i loro percorsi nei segni opposti di un nuovo internazionalismo (Ristori) e della stabilizzazione in un preciso contesto culturale (Napoli per la Sadowski). Questo contesto, attraversato dalla Ristori in tre successive tournée, è scelto per rimettere in movimento l’immagine canonica dell’attrice-marchesa, osservandola in contrasto alla rivale, regina di Napoli come lei lo fu entro e oltre l’Europa. Base del lavoro è il materiale raccolto per la stesura di una voce sulla Sadowski per il Dizionario Biografico degli Italiani (V. 89, 2017), unito alla ricerca nel Fondo Ristori, MBA, di testimonianze dirette e indirette degli incontri tra le due attrici. Fanny Sadowski, il cui stile si rispecchierà in Eleonora Duse, si rivela un’attrice al centro del suo tempo, capace di esercitare influenze profonde e durature.
Journal Article