The negative judgment of authors like Schiller, Lessing and Schlegel greatly affected Seneca’s influence on nineteenth-century theater. However, significant examples of his influence are still evident. On one hand, the strong passion and family conflicts that characterize Senecan characters often emerge in the violent dramas of Shelley and Heinrich von Kleist. On the other hand, Senecan elements come together in some rewritings of his tragedies, in particular of Oedipus(as in the case of the neoclassical Martínez de la Rosa); Medea (sorceress and solitary heroine in Franz Grillparzer); and Phaedra (antipuritan heroine in Swinburne, Titanic in Gabriele D’Annunzio, and Christian in Miguel de Unamuno). From the 1920s, in postwar Europe, mainly thanks to T. S. Eliot and Antonin Artaud, Seneca’s theater was favorably reappraised, imitated, translated, and finally brought back on stage with experimentations that often emphasize its characteristics as a theater of passions and words. The paper (after a brief introduction) is organized in 8 parts: Seneca's Dramas and His Detractors; Power and Passion: Senecan Characters in Shelley and Kleist; Between Romanticism and Neoclassicism: de la Rosa's Oedipus; "Now I am Medea": Egotism in Grillparzer's Medea; Phaedra: Metamorphosis of an Unconventional Heroine; Miguel de Unamuno, Senequism and Spain during the Interwar Period; Seneca and the Theater of Cruelty and Words: Artaud and Eliot; The Postwar Period and the Definitive Consecration of Seneca.
Il giudizio negativo di autori come Schiller, Lessing e Schlegel ha fortemente limitato la fortuna di Seneca nel teatro del secolo XIX; tuttavia non ne mancano esempi significativi. Da una parte i forti conflitti passionali e famigliari che caratterizzano i personaggi senecani sembrano spesso emergere nei violenti drammi di Shelley e di Kleist. Dall’altra parte elementi senecani si incontrano in alcune riscritture delle sue tragedie, in particolar di Edipo (come nel caso del neoclassico de la Rosa), di Medea (maga ed eroina solitaria in Grillparzer), di Fedra (eroina antipuritana in Swinburne, titanica in D’Annunzio e cristiana in Unamuno). A partire dagli anni 20, nell’Europa del dopoguerra, soprattutto grazie a T.S. Eliot e ad A. Artaud, il teatro senecano viene definitivamente rivalutato, imitato, tradotto e riportato sulla scena con sperimentazioni che spesso enfatizzano le sue caratteristiche di teatro delle passioni e della parola. Il lavoro - dopo una sezione introduttiva - si articola in 8 parti: Seneca's Dramas and His Detractors; Power and Passion: Senecan Characters in Shelley and Kleist; Between Romanticism and Neoclassicism: de la Rosa's Oedipus; "Now I am Medea": Egotism in Grillparzer's Medea; Phaedra: Metamorphosis of an Unconventional Heroine; Miguel de Unamuno, Senequism and Spain during the Interwar Period; Seneca and the Theater of Cruelty and Words: Artaud and Eliot; The Postwar Period and the Definitive Consecration of Seneca.
Francesco, C. (2016). Nineteenth- and Early Twentieth-Century Receptions of Seneca Tragicus. Leiden-Boston : Brill [10.1163/9789004310988_013].
Nineteenth- and Early Twentieth-Century Receptions of Seneca Tragicus
CITTI, FRANCESCO
2016
Abstract
The negative judgment of authors like Schiller, Lessing and Schlegel greatly affected Seneca’s influence on nineteenth-century theater. However, significant examples of his influence are still evident. On one hand, the strong passion and family conflicts that characterize Senecan characters often emerge in the violent dramas of Shelley and Heinrich von Kleist. On the other hand, Senecan elements come together in some rewritings of his tragedies, in particular of Oedipus(as in the case of the neoclassical Martínez de la Rosa); Medea (sorceress and solitary heroine in Franz Grillparzer); and Phaedra (antipuritan heroine in Swinburne, Titanic in Gabriele D’Annunzio, and Christian in Miguel de Unamuno). From the 1920s, in postwar Europe, mainly thanks to T. S. Eliot and Antonin Artaud, Seneca’s theater was favorably reappraised, imitated, translated, and finally brought back on stage with experimentations that often emphasize its characteristics as a theater of passions and words. The paper (after a brief introduction) is organized in 8 parts: Seneca's Dramas and His Detractors; Power and Passion: Senecan Characters in Shelley and Kleist; Between Romanticism and Neoclassicism: de la Rosa's Oedipus; "Now I am Medea": Egotism in Grillparzer's Medea; Phaedra: Metamorphosis of an Unconventional Heroine; Miguel de Unamuno, Senequism and Spain during the Interwar Period; Seneca and the Theater of Cruelty and Words: Artaud and Eliot; The Postwar Period and the Definitive Consecration of Seneca.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
