The figure of Pinocchio recurs in Virgilio Sieni’s choreographic production, for the imagery the character evokes and for the questions that its dual puppetry and human nature raises. Its variations are analyzed in respect to Sieni’s choreographic cycle on the fairy tale, where Pinocchio appears in multiple performances, and to the piece ‘Pinocchio. Leggermente diverso’ (2012), interpreted by the blind dancer Giuseppe Comuniello. Based on first-hand research, this essay shows the deconstructive variations Pinocchio undergoes in these works and the meta-discursive level traversing these choreographies, which lead to a renewed cultural reading of Pinocchio that shifts its core identifiers from loneliness and diversity to relationality and otherness.
Fughe ed epifanie di Pinocchio nell'opera di Virgilio Sieni / Rossella Mazzaglia. - In: SCHERMI. - ISSN 2532-2486. - ELETTRONICO. - 7:13(2023), pp. 119-133. [10.54103/2532-2486/21497]
Fughe ed epifanie di Pinocchio nell'opera di Virgilio Sieni
Rossella Mazzaglia
2023
Abstract
The figure of Pinocchio recurs in Virgilio Sieni’s choreographic production, for the imagery the character evokes and for the questions that its dual puppetry and human nature raises. Its variations are analyzed in respect to Sieni’s choreographic cycle on the fairy tale, where Pinocchio appears in multiple performances, and to the piece ‘Pinocchio. Leggermente diverso’ (2012), interpreted by the blind dancer Giuseppe Comuniello. Based on first-hand research, this essay shows the deconstructive variations Pinocchio undergoes in these works and the meta-discursive level traversing these choreographies, which lead to a renewed cultural reading of Pinocchio that shifts its core identifiers from loneliness and diversity to relationality and otherness.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
