masters in comparison
November 30, 1835: Mark Twain was born (180 years ago)
November 30, 1935: Fernando Pessoa died (80 years ago)
Also interesting: (altro…)
November 30, 1835: Mark Twain was born (180 years ago)
November 30, 1935: Fernando Pessoa died (80 years ago)
Also interesting: (altro…)
“L’aube parut et fit le jour. Un rayon blanc pénétra dans la chambre et en même temps entra dans l’esprit de Gwynplaine.
-Et Dea! lui dit la clarté.”
“Ce n’est rien de mourir, C’est affreux de ne pas vivre.”
“L’alba apparve e si fece giorno.
Un raggio bianco entrò nella stanza e, contemporaneamente, nello spirito di Gwynplaine.
E la luce gli disse: E Dea?”.
“Morire è nulla.
È spaventoso il non vivere”
Nel 2015, insieme a numerosi altri appuntamenti, ricorre anche il quarantesimo anniversario della scomparsa di Pier Paolo Pasolini (2 novembre 1975); il Comune e la Cineteca di Bologna intendono ricordarlo con un evento che si svilupperà a partire da settembre e si chiamerà “Piú moderno di ogni moderno. Pasolini a Bologna“.
Ecco il comunicato stampa ufficiale: (altro…)
”The Happy Prince‘ directed by Rupert Everett and based on the famous Oscar Wilde’s tale, starred by Hugh Dancy and to be shooted next October, has been presented at Cannes.
His first time as a director, Rupert says he has realized a dream, given his will to tell the world of Oscar Wilde and overall his relationship with Robert Baldwin “Robbie” Ross, being that one with lord Alfred Bruce Douglas, ”Boosie” yet to arrive. (‘Swallow, swallow, my little swallow...’).
Relationship a part, The Happy Prince is the story of a statue covered with gold that asks a swallow to remove the metals and precious stones from his body in order to help widows and poor people.
For the entire novel in original, please click here.
I fratelli Paolo e Vittorio Taviani si accingono a girare ‘Maraviglioso Boccaccio‘, film dedicato a un autore che tutti abbiamo amato per le pagine del Decamerone e altre piacevoli performance. I due registi hanno già fatto un sopralluogo a Certaldo (Firenze), dove la terza corona della nostra letteratura ebbe infatti i natali e passò anche a miglior vita, insieme alla scenografa Emita Frigato, accompagnata da alcuni funzionari del Comune e dall’assessore alla Cultura (pare che gran parte delle riprese avranno luogo, comunque, in una villa vicino Firenze).
Dalle premesse, sembra che i Taviani Bros. vogliano trasporre alcune novelle del citato Decameron, come normale per un’opera cinematografica; dopo Giacomo Leopardi, l’Italia vedrà un altro suo classico rivivere in sala.
Quali novelle, però, saranno trasposte sullo schermo? Chichibio e la gru? Andreuccio da Perugia? ser Ciappelletto? Lisabetta da Messina?
Al momento i Taviani sembrano volerne raccontare cinque; sembra sicuro Calandrino, che sarebbe interpretato da Kim Rossi Stuart (che interpreterà anche ‘il Commissario Maltese’ in tv). Nel cast anche Lello Arena, Paola Cortellesi, Carolina Crescentini, Riccardo Scamarcio, Kasia Smutniak, Michele Riondino, Vittoria Puccini, Flavio Parenti, Jasmine Trinca, Josafath Vagni, Fabrizio Falco, Eugenia Costantini, Miriam Dalmazio, Melissa Bartolini, Camilla Diana, Niccolò Diana, Beatrice Fedi, Ilaria Giachi, Barbara Giordano, Rosabell Laurenti Sellers.
Mi è gradito cogliere l’occasione, peraltro, per ricordare un dato troppo spesso trascurato, il fatto che Boccaccio conobbe il greco grazie a un frate calabrese, tale Leonzio Pilato.
Il libro ‘Operazione Gattopardo – Come Visconti trasformò un romanzo ‘di destra’ in un successo ‘di sinistra’, di Alberto Anile e Maria Gabriella Giannice, è stato premiato dal Sindacato dei Giornalisti Cinematografici Italiani come Libro di Cinema dell’anno, conquistando l’Efebo d’Oro 2013.
La cerimonia di premiazione del saggio, edito dalla casa editrice ‘Le Mani’, avverrà ad Agrigento il prossimo 26 ottobre, nell’isola in cui Tomasi di Lampedusa ambientò il suo romanzo. Il giorno prima, inoltre, avrà luogo un convegno sui cinquant’anni del Gattopardo cinematografico di Luchino Visconti. L’evento sarà aperto dai dodici minuti di scene tagliate nel 1963 dallo stesso Visconti ; tema dell’incontro “Nello specchio del Gattopardo la Sicilia 50 anni dopo fra coraggio e paure”.
È fin troppo facile riprendere la trita citazione “bisogna che tutti cambi affinché niente cambi”; il merito dei due scrittori sarà stato quello di trascendere le letture piú ovvie.
Si vuol concludere con una citazione della Regina di Picche, da ‘Alice attraverso lo specchio‘ di Lewis Carrol:
— Che razza di Paese! — disse la Regina. Qui invece, per quanto si possa correre si rimane sempre allo stesso punto. Se si vuole andare in qualche altra parte, si deve correre almeno con una velocità doppia della nostra.
Piace molto a Lella Costa.. Forse, non solo a lei.
Due altre notizie in breve:
sabato prossimo, alle Giornate del Cinema muto di Pordenone, verrà proiettato in versione integrale l’unico adattamento cinematografico del primo Novecento dei ‘Promessi sposi’ di Alessandro Manzoni, risalente al 1913;
il film ‘Il giardino dei Finzi Contini’, di Vittorio De Sica, tratto dall’omonimo romanzo di Giorgio Bassani, è stato scelto per commemorare i settant’anni dalla deportazione romana degli Ebrei, nell’ambito della mostra ‘Storie del ‘900 – Il giardino dei Finzi Contini‘, al Museo Ebraico di Roma.
“Ah, caina! Ah, bastasa!
Non ti sputo per non lavarti, non (CENSURA)!
Gonerilla i Regan sunnu ddu bravi figghioli, parraru ‘ngarbati
i a iddi ‘nciu lassu u regnu!
A ‘ttia sai chi ti rugnu, bastasa?
‘Na beata (CENSURA)!
Vatindi in Francia,
cu’ ‘ddu stortu chi ti difindiu, non mi ti viru cchiú innanzi all’occhi!”
Oscar Wilde was one of the most representative authors of the Victorian age, the phase of English history that corresponds to the reign of the Queen Victoria (1837 – 1901). The Victorian society is to be considered a very significant moment for English history and culture but also contained some contradictions difficult to understand; scientific development, enormous increase of commercial business, international power and prestige for United Kingdom, a rich and fine literature were the first side of a coin that showed, on the “dark side”, social inequalities, pollution and, in our case, hypocrisy. Homosexuality, in exemplum, was not tolerated at all and the existing laws condemned it very firmly, even to the jail and the hard work.
There was, then, a wit and brilliant novelist, poet, aphorist. And there was a lord, Alfred Douglas who fell in love with him. Surely, the guy had been fascinated and fallen in love with the author of The Picture of Dorian Gray and many other interesting masterpieces because he was wit, he had education, an intelligence and a sagacity which certainly made him seem something special in such an hypocrite and mediocre society (perhaps Alfred should be quiet fed up with).
To stop the relationship between Oscar and Alfred, Lord Douglas senior, Marquis of Queensberry and Alfred’s father, prosecuted for libel, a charge carrying a penalty of up to two years in prison. The trial discovered evidence that caused Wilde to drop his charges and led to his own arrest and trial for gross indecency with other men. After two more trials he was convicted and imprisoned for two years’ hard labour.
Of course, a condemn like that one comported to have almost killed him because the hard life of a jail and of the works was too hard to suffer for any human being and, over all, for a sensitive and delicate person.
How could such a gentle being face such an appalling and difficult situation? How could an educated gentleman, used at humanities, literature, fine arts, live in a squalid place, without freedom, without the possibility to cultivate his interests, strangely watched by the other jailbirds and having for sky “that little tent of blue”?
In 1897, when he was in prison yet, Oscar Wilde wrote De Profundis which was published in 1905, a long letter which discusses his spiritual experience through his judgments, creating a shady counterpoint to his earlier philosophy of pleasure.
Upon his release he definitely left Ireland and Britain, never to return, moved to France and there he wrote his last work, The Ballad of Reading Gaol (1898), a long poem remembering the cruel rhythms of prison life, exactly two years before to die, only forty six years old.
In the Ballad of the Reading Gaol, Oscar Wilde tells us the sufferance he lived in that time of two years, when he wanted to pray and he could not, he wanted to weep and it was difficult, he walked and the detainees whispered ‘that fellow’s got to swing!”. The first image Wilde gives us is that one of a prisoner who does not wear the colours of the blood and the wine, although his hands had been found red after the murder of his wife. Now he wears a suit of shabby grey and, wistfully all the day, takes sometimes a look at that little tent of blue quiet similar to the sky. Oscar walked and a voice whispered someone was destined to be hanged.
Secondly, Wilde lists the crimes of the people of the Reading Gaol and the types of the humanity he had to live with. There is that one who killed the thing of his love, who strangled, who used knives, crying or not, with tender words or in silence and, reasoning in terms of literary categories, it seems a minimal reference to the Love – Death relationship which is an important reading key of Victorian poetry and literature.
Oscar Wilde wrote ‘Salomé’ in 1891, in French, during his Parisian sojourn.
It is told that one evening, after conversing on the representations of Salomé throughout history, he returned to his hotel to notice a blank copybook lying on the desk, and it occurred to him to write down what he had been saying. He wrote a new play that way, ‘Salomé’, then, rapidly and in French.
A tragedy, Salomé is based on the stepdaughter of the tetrarch Herod Antipas, and on the choice we know from the holy Gospel, to request the head of Jokanaan (John the Baptist) on a silver platter as a reward for dancing the Dance of the Seven Veils. It is important to affirm that Wilde did a quiet “sensual” elaboration of the Gospel because, according to the original story, Herodias, Salomé’s mother, asked her the head of the prophet to revenge of what he publicly said against her and her behaviour. Wilde imagined Salomé fascinated by the look, the hair, the mouth of the prophet and eagerly willing his head to kiss it. Moreover, the dialogue between Love and Death is an important reading key of the Victorian literature, of what the Irish novelist and poet was an important exponent.
And it is to note that the dance was enormously appreciated by Herod, spite of mother’s opinion; on the opposite, the request for the head of Jokanaan made her stepfather’s disappointment and her mother’s delight.
Tema Seamless Keith, sviluppato da Altervista
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