PSA Conference – Global Legacies: Pirandello across Centuries and Media – 16 September 2017

The Pirandello Society of America presents its one-day conference

“Global Legacies – Pirandello across Centuries and Media”

Saturday 16 September 2017, 8:00 am – 6:30 pm

Hunter College, CUNY, 695 Park Ave, New York City

Celebrating the 150th anniversary of Luigi Pirandello’s birth, this one-day conference sponsored by the Pirandello Society of America seeks a broad spectrum of contributions that evaluate and illuminate Pirandello’s legacies on world theatre, literature, cinema, and other media over a period of more than a hundred years. We encourage contributions that are interdisciplinary and engage with a variety of theoretical models when looking at Pirandello’s work and its multifaceted resonance.

English is the official language of the Conference.

Keynote Speaker: Pietro Frassica, Princeton University

Attendance is free and open to the public.

The full program for the conference is available. Click here to read.

For further information about The Pirandello Society of America please visit our website at: http://pirandellosociety.org/ and Facebook page: https://www.facebook.com/pirandellosocietyofamerica/

The Pirandello Society of America is pleased to be featured among a series of international conferences being held across the globe in honor of Pirandello’s 150th anniversary: Pirandello International 2017, Pirandello in a Globalized World. From Agrigento to Rome, Johannesburg to Munich, these events demonstrate the world-spanning reach of Pirandello’s influence today. More information and the full calendar for the international conference series can be found online: http://pirandello.eu/international2017/

Pirandello in the New Millennium: Innovative Approaches and Methods. NeMLA Convention in Hartford, CT 17-20 March 2016

Organized by Lisa Sarti (BMCC, The City University of New York) and Michael Subialka (Oxford University)

Session Chair and Respondent: Lisa Sarti (BMCC, The City University of New York)

Paola Basile (Lake Erie College), Learn with Pirandello
Anna Santucci (Brown University), Staging Pirandello: bridging the gap between language and literature through drama
Michela Ronzani (University of North Carolina School of the Arts), Pirandello and the others: Teaching Pirandello to Theater Students
Francesca Facchi (University of Toronto), The Many Lives of Pirandello’s “Questa sera si recita a soggetto”
Stephen Donatelli (New York University), Pirandello and the Risks of Succeeding

Pirandello and the Female Subject (MLA Boston, MA, January 2013)

The Pirandello Society of America presents a panel at the Modern Languages Association Conference in Boston on January 5, 2013:

Pirandello and the Female Subject

1.      Valentina Fulginiti,  University of Toronto

“Lost (Women) in Translation. The Rewriting of Female Characters in Pirandello’s Self-Translations.”

2.      Andrea Malaguti,  University of Massachusetts, Amherst

“The Pirandellian Trap: Michelangelo Antonioni’s La signora senza camelie (1952-53)”

3.      Michael Subialka

“The Actress and Her Truth: Pirandello’s Model of Feminine Aesthetic Subjectivity,” Bilkent Univ., Ankara

 

Presiding: Jana O’Keefe Bazzoni, Baruch College, the City University of New York

Respondent:  Michael Subialka, Bilkent Univ., Ankara

 

Paper abstracts:

  1. 1.     Lost (Women) in Translation.. The Rewriting of Female Characters in Pirandello’s Self-Translations.
    Valentina Fulginiti, University of Toronto

How do translational changes affect the status of female characters on stage? Does the loss of concreteness typical of most translational processes (Berman 1999: 53; 65) affect the corporeal dimension of their speech? In my paper, I will refer to the language of three plays by Pirandello, Pensaci Giacomino, Liolà, and Il Berretto a sonagli — all composed in dialect, in cooperation with actor Angelo Musco and playwright Nino Martoglio, and later rewritten in Italian.

In all three texts, the traditional Sicilian family ethics is challenged to various extents: while in Liolà and Pensaci Giacomino the natural ethics of birth is opposed to the rigidity of social conventions and legal recognition, in Il berretto a sonagli the impotent rebellion of a woman is defeated by recurring to the slanderous label of madness. However, these plays are not left untouched by the general transformation triggered by self-translation: specific cultural conflicts thus come to provide the ground for a universal philosophical reflection on authenticity, madness, and social convention.

The aim of my presentation is to explore how these translational changes affect and reshape the conventional stage identity of “loose” women.  On the one hand, I will analyze how the loss of iconicity and figurativeness affects the corporeal dimension of female speech. In particular, I will focus on the strategies for rendering proverbs and idioms, and on the treatment of cultural reference (e.g., the different treatment of sterility in the two versions of Il berretto and in the three versions of Liolà). It is my take that the loss of iconicity typical of translation has an attenuating effect over the language of female characters – a feature especially evident in the Italian rewriting of Donna Biatrìci’s most scandalous and challenging lines.

On the other hand, I will analyze how dramatic changes (such as elimination of sequences or merging of scenes) affect the power balance between female and male characters, reshaping the traditional role play of feudal Sicily into a new state, suitable for a nation-wide, bourgeois audience.

2. Captive in the Studio: Pirandello’s Shadow in Michelangelo Antonioni’s La signora senza camelie (1952-53)
Andrea Malaguti, University of Massachusetts, Amherst

Antonioni’s second full-length feature film presents a series of references to Pirandello’s work. In setting Clara Manni’s story totally on sites strictly referring to film production (even her house as a married woman looks like a studio), the film represents her gradual awareness of her social subjugation to her image as a starlet not only in her work and in her personal life. Like Pirandello’s characters, Clara Manni is allowed to be the projection of everyone else’s wish, like Signora Ponza in Così è (se vi pare), or desire, like Marta in L’amica delle mogli. However, both these female characters have their feeble chance of empowerment in being able to withdraw from the common stage of social life: “Leave me alone! I want to be alone, alone, alone!” says Marta at the end of the play (whereas their male equivalents, are insightful observers, like Laudisi or Leone Gala, and later become stage masters, like Henry IV and Hinkfuss). On the contrary, Clara’s decision to seize empowerment by becoming a real actress – and studying Pirandello, of all authors – ultimately fails: she goes broke, needs work, and realizes that not only film production, but life itself will never allow her to be anything else than a starlet. Clara therefore signs a contract for a cheap production and resumes a superficial relationship that she scorned before. Antonioni brings Pirandello’s investigation on the porous boundaries between fiction and reality to its most radical conclusions: to the threatening siege of other people’s perceptions a woman has no alternative but surrender, however aware she might be of her own intimate difference and depth of character.

 

3.      The Actress and Her Truth: Pirandello’s Model of Feminine Aesthetic Subjectivity
Michael Subialka, Bilkent University, Ankara

Pirandello’s work, both theatrical and narrative, hinges on a particular theory of the character and its relation to the world of actual life. As Ann Hallamore Caesar has argued, Pirandello’s characters are the primary unit structuring his production, and it is their vitality that motivates his work. Likewise, as Daniela Bini and Lucienne Kroha have shown, Pirandello’s theatrical production is increasingly dominated by his great muse, Marta Abba, and marked by his conflicted relation with the feminine. I will argue that his interest in Abba reveals an essential aspect of Pirandello’s notion of how the theatrical character connects the fictional world to the actual world: this connection is achieved thanks to performance of the actress. By performing a character’s truth, living it in the present on the stage, she makes it visible and tangible to the spectator. The result is that fictional truth and its power to reshape reality are conveyed in a model of aesthetic subjectivity that is gendered explicitly as feminine.

In this paper, I investigate that concept of feminine aesthetic subjectivity by analyzing Pirandello’s essay on Eleonora Duse. Putting this into dialogue with his famous play, Come tu mi vuoi, and a short story, “Colloquii coi personaggi,” I argue that his model of feminine subjectivity allows us to reconceive the relationship between literary form and philosophical truth, as well as the role of form in the modernist “revolt” against realism.

On Chaos in Abu Dhabi: Working through Pirandello

On Chaos in Abu Dhabi: Working through Pirandello

March 24, 2011 | 6:30-8:00 PM

Lecture location: 19 Washington Square North, Events Space, New York City

Marking the occasion of NYUAD’s inaugural theater production this Spring of Luigi Pirandello’s Chaos, this panel will discuss the importance of Pirandello for the tradition of theater, the challenges of adapting his story for the stage, and the central role of migrant identity in his work.

Jana O’Keefe Bazzoni Chair, The Department of Communication Studies, Baruch College;
Co-president of The Pirandello Society of America

Jane House Artistic Director, Jane House Productions
Felice Italo Beneduce Lecturer of Italian, Columbia University
Federico Pacchioni Assistant Professor In-Residence of Italian Literary and Cultural Studies, University of Connecticut
Rubén Polendo Associate Professor of Theater, NYUAD

Co-sponsored by Theater Mitu http://www.theatermitu.org/

http://nyuad.nyu.edu/news.events/nyc.global.literature.2010-11.html

Pirandello and His Influence

February, 2009

Pirandello and His Influence on Playwrights All Over the World

The Doctor’s Duty (Il dovere del medico) by Luigi Pirandello – Director, Valentina Fratti

Bait by Mario Fratti –  with Lupita Ferrer and Julia Paulson, Director, William Paulson

February 25, 2009

Casa Italiana Zerilli-Marimò

24 West 12th St.

New York, New York 10010

6PM: admission is free; open to the  public

John Welle – The Set with the Diva: Pirandello and the Film Novel

Tuesday, March 8, 2005

6:30 p.m. Room C 201

The Doctoral Specialization in Italian and the Ph.D. Program in Comparative Literature Graduate Center

City University of New York

365 Fifth Avenue

Lecture by John Welle

THE SET WITH THE DIVA: PIRANDELLO AND THE FILM NOVEL

This lecture compares Luigi Pirandello’s novel on the alienation of a film cameraman, Si gira! (1915) with other contemporary Italian novels set in the world of early cinema. Read together, these “popular” or “mid-cult” film novels, Ettore Veo’s Fantasio Film (1917-18), and Enrico Roma’s La repubblica del silenzio (1918) shed light on Pirandello’s more philosophical narrative and on the cultural reception of cinema in Italy during the critical years surrounding WWI.

John Welle is professor of modern Italian literature, history of Italian cinema, and translation studies. He is the author of The Poetry of Andrea Zanzotto (1987) and the editor and translator (with Ruth Feldman) of Peasants Wake for Fellini’s Casanova and Other Poems by Andrea Zanzotto (1997).

Tuesday, March 8, 2005

6:00 p.m.

Italian Cultural Institute

686 Park Avenue New York, NY

Dacia Maraini in conversation with Jane House and Ingrid Rossellini

about Maraini’s new book Colomba

RSVP 212 879 4242, x 368

Eduardo DeFilippo’s Souls of Naples (Questi fantasmi) – Panel Discussion

Eduardo DeFilippo’s Souls of Naples (Questi fantasmi)

Panel Discussion, moderated by Mimi D’Aponte, featuring actor John Turturro & translator Michael Feingold

March 17, 2005, 6:30 p.m.

Italian Cultural Institute, 686 Park Avenue New York, NY

RSVP 212 879 4242, Ext 370

Symposia: On April 30 and May 7

Mimi D’Aponte, Professor Emerita of Theatre at Baruch College and CUNY Graduate Center, will moderate a symposium about Souls of Naples.  These conversations will include John Turturro and Roman Paska.   The symposia are free of charge.

If you have any questions regarding the production or would like to arrange tickets, please phone (212) 229-2819 ext. 15 or email selkashef@tfana.org