Leo e Perla, La faticosa messinscena dell'Amleto di William Shakespeare, fotogramma di uno dei film proiettati, 1967. Pubblicata in Gianni Manzella, 'La bellezza amara. Arte e vita di Leo de Berardinis', La Casa Usher, 2010, p. 15
Leo e Perla, La faticosa messinscena dell'Amleto di William Shakespeare, fotogramma di uno dei film proiettati, 1967. Pubblicata in Gianni Manzella, 'La bellezza amara. Arte e vita di Leo de Berardinis', La Casa Usher, 2010, p. 15

La faticosa messinscena dell’Amleto di William Shakespeare, 1967

The focus has been published in the section attachments of the No.1 of Sciami|ricerche.

La faticosa messinscena dell’Amleto di William Shakespeare (1967)

(The laborious staging of Shakespeare’s Hamlet)
cineteatrical spectacle of  Leo de Berardinis e Perla Peragallo
film operators Alberto Grifi, Mario Masini, Leo de Berardinis, Perla Peragallo
editing Leo de Berardinis e Perla Peragallo
with Leo de Berardinis e Perla Peragallo
premiere Roma, Teatro alla Ringhiera, 21 aprile 1967
main replies Ivrea, Centro Olivetti di Palazzo Canavese, 12 giugno 1967

Leo and Perla’s laborious staging: a cascade of (cinematic) light for the actor’s ghost

by Cristina Grazioli
On April 21, 1967 in Rome, at the La Ringhiera Theater, Leo De Berardinis and Perla Peragallo presented their first play, La faticosa messinscena dell’Amleto di William Shakespeare (The laborious staging of Shakespeare’s Hamlet), later part of the meaningful context of the Ivrea Conference.
Defined by the authors as “a cinetheatrical play,” it took its place clearly, starting from its intentions, within the territory of a dialogue with movie projection, fully aware of the differences that the use of film implies as a code for stage writing.
The stage set included three screens (white sheets) of different sizes, upstage and stage left and right, on which heterogeneous images were projected, drawn from a current events repertory (the White House, the Ministry) or shots – in color or black and white – of the two actors interpreting Hamlet (doing all the parts, in costume or everyday dress), as well as objects, neon signs and advertising. The films, initially shot by Alberto Grifi and Mario Masini, were later completed and edited by Leo and Perla. Read morere…

Description of the spectacle

by Pierpaolo Cesarano
The debut of the pair De Berardinis-Peragallo took place at the Ringhiera on April 21, 1967, in Rome’s Santa Maria in Trastevere district. On the stage were three screens, each with its projector, amplifier, two speakers and a turntable, which played the most disparate music, from Verdi to Gianni Morandi, a Farfisa synthesizer, an iron crown and two painted veils. Leo de Berardinis, 27 years old, had returned from a long acting apprenticeship with Carlo Quartucci. Perla Peragallo, a few years younger, had attended Alessandro Fersen’s theater school and possessed a natural dramatic talent, mixed with a deep-rooted musical culture. Two actors from different backgrounds but having reached “the same point of putrefaction.”
In the play Hamlet pursues his solitude, isolated by the ghosts of the court of Elsinore; in that solitude Leo and Perla reflected their own solitude as marginalized artists in pursuit of something, whatever it might be.

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Documents are published in original language. In case the translation is present, both the original and the translation are published.

Script
Leo De Berardinis, Perla Peragallo, Partitura verbale e scenica de La Faticosa messinscena dell'Amleto, from Il lavoro su Amleto [interview with Franco Molé], in Franco Quadri, L’Avanguardia teatrale in Italia (materiali 1960-1976), Turin, Einaudi, 1977, I, pp. 243-255
Writings by artists and interviews
Leo De Berardinis, Perla Peragallo, Amleto, Macbeth, Watt, «Teatro», n. 2, June 1969
Leo De Berardinis, Franco Molé, Il lavoro su Amleto, interview with Leo De Berardininis, in F. Quadri (a cura di), L’Avanguardia teatrale in Italia (materiali 1960-1976), Turin, Einaudi, 1977
Photogallery
Frames of one of the projected films
published in G. Manzella, La bellezza amara, La Casa Usher, 2010, p. 13, 15
Frame of one of the projected films
published in G. Bartolucci, La scrittura scenica, Rome, Lerici, 1968, p. 296
Entrance card to the Teatro La Ringhiera
for La faticosa messinscena dell'Amleto di William Shakespeare, 1967
published in G. Manzella, La bellezza amara, La Casa Usher, 2010, p. 14
Reviews
Rodolfo Wilcock, Ritorna Amleto nelle cantine in uno spettacolo cineteatrale, «Sipario», n. 254, June 1967
Critical writings
Giuseppe Bartolucci, La luce movimento/rumore in De Berardinis Peragallo in G. Bartolucci, La scrittura scenica, Rome, Lerici, 1968
Gianni Manzella, Dove si incontrano due attori, in G. Manzella, La bellezza amara. Arte e vita di Leo De Berardinis, Florence, La casa Usher, 2010 (previously published ed. Pratiche 1993)
Maximilian La Monica, La faticosa messinscena dell'Amleto di William Shakespeare (1967), in M. La Monica, Il poeta scenico. Perla Peragallo e il teatro, Rome, Editoria e Spettacolo, 2002
Luca Borgia, L'agonismo delle immagini, in L. Borgia, L'evento e l'Ombra. Fenomenologia del nuovo teatro italiano 1959-1967, Lucca, Maria Pacini Fazzi Editore, 2006
Salvatore Margiotta, Il teatro dell'errore di Leo e Perla, in S. Margiotta, Il Nuovo Teatro in Italia 1968-1975, Titivillus, Corazzano (PI) 2013
Context materials
Leo de Berardinis Estratto da Dossier Ivrea 1967. Le opinioni di chi partecipò (1987), in Francesco Bono, «I ricordi di Ambrosino, Bajini Barba, Calenda, Capriolo, De Berardinis, Fo, Mango, Moscati, Ricci, Ronconi, Scabia, Trionfo», «ateatro», n.108, 207
Maximilian La Monica, A Charlie Parker (1970), in M. La Monica, Il poeta scenico. Perla Peragallo e il teatro, Rome, Editoria e Spettacolo, 2002

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