Il tema dello scontro culturale e dell’esilio nella ripresa contemporanea delle mitografie della Grecia classica: il caso delle «Troiane»
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Les Troyennes d’Euripide est une oeuvre très présente sur la scène européenne du XXe et du début du vingt et unième siècle, pour la grande ‘modernité’ que les dramaturges, les réalisateurs et les acteurs reconnaissent en ce classique. Parmi les autres, on est fascinés par les thèmes de la guerre comme cruauté inutile (au centre du remake de Jean-Paul Sartre); de la reconnaissance de l’étranger en tant que vecteur de culture et dignité; de la force des femmes, qui survit à un exil qui est d’abord arrachement de ses propres racines; de l’Histoire vue du côté des perdants; du choc culturel nié, au contraire, recomposé sous le signe de la compassion. Dans cet essai, on compare certaines mise en scène, choisies parmi celles qui, sous des angles différents, présentent ‘l’intrusion de la modernité’ dans le drame antique, offrant ainsi un aperçu significatif de la scène italienne depuis la guerre, à l’aube du vingt et unième siècle et de sa réponse, malgré certaines claires limites et retards culturels, à des thèmes d’une brûlante actualité tels que ceux véhiculés par les Troyennes dès 415 avant JC.
SUMMARY
The Trojan Women of Euripides is very often represented on the European scene of the twentieth and early twenty-first century, for its great ‘modernity’ that the playwrights, directors and actors recognize in this classical work. Among others, the audience is fascinated by the themes of war, seen as unnecessary cruelty (the core of Jean-Paul Sartre’s remake); by the recognition of the foreigner as a carrier of culture and dignity; of the feminine strength, surviving an exile which is above all being uprooted from their own roots; of History seen from the losers’ side; of a cultural clash denied, or even reassembled under the sign of compassion. In this discussion we compare some settings among those which, from different perspectives, show ‘the intrusion
of contemporaneity’ in ancient drama, and together offer a significant insight into the Italian scene from the post-war period to the dawn of the twenty-first century and its response, despite some clear limitations and cultural delays, to perennial and topical issues such as those carried by the Trojan as early as 415 BC.
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