Attilio Favorini
Biographic Data
| ID | 1708816 |
|---|---|
| NAME | Attilio Favorini |
| GIVEN NAMES | Attilio |
| FAMILY NAME | Favorini |
| SIGNATURE | FAVORINI A |
| AFFILIATIONS | University of Pittsburgh |
| VERIFIED | No |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 4 |
| WORKS AS AUTHOR | 12 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1972 |
| LATEST PUBLICATION YEAR | 2008 |
| H-INDEX | 1 |
Memory in Play
This innovative study examines the role of memory in the history of theatre and drama. Favorini analyzes issues of memory in self-construction, collective memory, the clash of memory and history and e
Memory in Play
Memory Plays before “Memory Play”
A s Greek protagonists, whether in tragedy or comedy, are strong-willed probem-solvers; as Elizabethan heroes are essentially explorers of every social and psychological corner, even as their Renaissance counterparts searched the globe; as the contestants of French classical theatre are conflicted between duty and desire; as dramatic characters from the Romantic age are isolated above, below, or outside society—modernist dramatis personae are nat…
Staging Consciousness
Like his Theatre of Chaos, which drew parallels between contemporary plays, quantum mechanics, and chaos theory, William Demastes's Staging Consciousness juxtaposes ideas derived from the emerging science of consciousness with similar notions embedded in (mostly) twentieth-century drama
History, Collective Memory, and Aeschylus' Persians
Aeschylus' The Persians (472 BCE) affords an example of the interplay of history and memory, as these concepts have been articulated by twentieth-century historiographers such as Patrick Hutton and Pierre Nora. The play's diction links it to the oral memorialist tradition of epic exultation, while the spectacle of its defeated Persians offers a historical lesson to Athens and suggests empathy with all who mourn for loss in war. Twentieth-century …
The Medium (review)
Fires in the Mirror
Reviewed by: Fires in the Mirror: Crown Heights, Brooklyn and Other Identities Attilio Favorini Fires In The Mirror: Crown Heights, Brooklyn and Other Identities. By Anna Deavere Smith. City Theatre, Pittsburgh. March 1995. Click for larger view View full resolution Figure 1. Jennifer Mendenhall and Chrystal Bates in City Theater’s production of Fires in the Mirror by Anna Deavere Smith. Photo: Suellen Fitzsimmons. Are we to take Anna Deavere Smi…
Playland
Hamlet
Theatre, a History of the Art
Macbeth
The old school of acting and the English provinces
The English provinces served as both nursery and gravesite of the “old school” of acting. This school requires the designation “old” because its members—from Kemble, Kean, and Macready at the beginning of the nineteenth century to Phelps, John Ryder, and Barry Sullivan at the end—clung to the heroic ideal of aggrandized reality in the tragic performance, an ideal rooted in eighteenth century stage practice if not earlier
History, Collective Memory, and Aeschylus' Persians
Aeschylus' The Persians (472 BCE) affords an example of the interplay of history and memory, as these concepts have been articulated by twentieth-century historiographers such as Patrick Hutton and Pierre Nora. The play's diction links it to the oral memorialist tradition of epic exultation, while the spectacle of its defeated Persians offers a historical lesson to Athens and suggests empathy with all who mourn for loss in war. Twentieth-century …
The old school of acting and the English provinces
The English provinces served as both nursery and gravesite of the “old school” of acting. This school requires the designation “old” because its members—from Kemble, Kean, and Macready at the beginning of the nineteenth century to Phelps, John Ryder, and Barry Sullivan at the end—clung to the heroic ideal of aggrandized reality in the tragic performance, an ideal rooted in eighteenth century stage practice if not earlier
The old school of acting and the English provinces
The English provinces served as both nursery and gravesite of the “old school” of acting. This school requires the designation “old” because its members—from Kemble, Kean, and Macready at the beginning of the nineteenth century to Phelps, John Ryder, and Barry Sullivan at the end—clung to the heroic ideal of aggrandized reality in the tragic performance, an ideal rooted in eighteenth century stage practice if not earlier
Macbeth
Theatre, a History of the Art
Hamlet
Playland
Fires in the Mirror
Reviewed by: Fires in the Mirror: Crown Heights, Brooklyn and Other Identities Attilio Favorini Fires In The Mirror: Crown Heights, Brooklyn and Other Identities. By Anna Deavere Smith. City Theatre, Pittsburgh. March 1995. Click for larger view View full resolution Figure 1. Jennifer Mendenhall and Chrystal Bates in City Theater’s production of Fires in the Mirror by Anna Deavere Smith. Photo: Suellen Fitzsimmons. Are we to take Anna Deavere Smi…
The Medium (review)
History, Collective Memory, and Aeschylus' Persians
Aeschylus' The Persians (472 BCE) affords an example of the interplay of history and memory, as these concepts have been articulated by twentieth-century historiographers such as Patrick Hutton and Pierre Nora. The play's diction links it to the oral memorialist tradition of epic exultation, while the spectacle of its defeated Persians offers a historical lesson to Athens and suggests empathy with all who mourn for loss in war. Twentieth-century …
Staging Consciousness
Like his Theatre of Chaos, which drew parallels between contemporary plays, quantum mechanics, and chaos theory, William Demastes's Staging Consciousness juxtaposes ideas derived from the emerging science of consciousness with similar notions embedded in (mostly) twentieth-century drama
Memory in Play
This innovative study examines the role of memory in the history of theatre and drama. Favorini analyzes issues of memory in self-construction, collective memory, the clash of memory and history and e
Memory in Play
Memory Plays before “Memory Play”
A s Greek protagonists, whether in tragedy or comedy, are strong-willed probem-solvers; as Elizabethan heroes are essentially explorers of every social and psychological corner, even as their Renaissance counterparts searched the globe; as the contestants of French classical theatre are conflicted between duty and desire; as dramatic characters from the Romantic age are isolated above, below, or outside society—modernist dramatis personae are nat…
Art (10 works) · History (6 works) · Theatre and Performance Studies (5 works) · Literature (4 works) · Political science (4 works) · Psychology (4 works) · Art history (3 works) · History (3 works) · Law (3 works) · Visual arts (3 works)