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Mario Prosperi

Biographic Data

ID3893508
NAMEMario Prosperi
GIVEN NAMESMario
FAMILY NAMEProsperi
SIGNATUREPROSPERI M
VERIFIEDNo
TOTAL WORKS10
TOTAL CITATIONS3
WORKS AS AUTHOR10
WORKS AS EDITOR0
FIRST PUBLICATION YEAR1976
LATEST PUBLICATION YEAR1994
H-INDEX1
  • The Masks of Menander

    Open Access•Mario Prosperi•ARTICLE•Res: Anthropology and Aesthetics•1994

  • Marina Confalone

    Mario Prosperi•ARTICLE•The Drama Review TDR•1985

  • The Masks of Lipari

    Mario Prosperi•ARTICLE•The Drama Review TDR•1982

  • "Massimo Castri's "It Is So (If You Think So!)

    Mario Prosperi•ARTICLE•The Drama Review TDR•1981

  • Ermione

    Open Access•Mario Prosperi•ARTICLE•The Drama Review TDR•1979

    Ermione , the title of my play, was also the name of the monkey who performed with me in it. It was originally the name of a mythical character, the daughter of Helen and Menelaos; more recently, It was used by Gabriele D'Annunzio in his poem “The Rain in the Pine Forest.” In my play, the monkey corresponded to D'Annunzio's “nymph with the sylvan face” who accompanied him through the metaphorical wood of life. The text of Ermione was comprised of…

  • Colosimo's Freud, Mein Freund

    Open Access•Mario Prosperi•ARTICLE•The Drama Review TDR•1979

    Gianni Colosimo is the founder and sole member of the Teatro Ludico Libidinale (Ludicrous Libidinal Theatre). His performance, the title of which means “Freud, My Friend,” announces a personal poetics in autoperformance. Colosimo does individually what others in the so-called Post Avant-Garde (T77) do collectively; that is, he plays with “symptoms” of his own pathology and puts them together in a sort of “kinetic” analysis. He tries to materializ…

  • Contemporary Italian Theatre

    Open Access•Mario Prosperi•ARTICLE•The Drama Review TDR•1978

    What is particularly Italian about the theatre that is produced in Italy? What characteristics make it different—recognizable—to the foreign spectator? After the war, Italian theatre was scarcely significant for its innovations. An effort to restore tradition in theatre absorbed most creative energies. Three outstanding influences belong to this period. The first is that of the Academy of Dramatic Arts, founded in 1936 by Silvio D'Amico with the …

  • Ouroboros’ The Death of Geometry

    Open Access•Mario Prosperi•ARTICLE•The Drama Review TDR•1978

    The group Ouroboros takes its name from an alchemical symbol: a dragon that forms a perfect circle by holding its tail in its mouth. The symbol, according to the group, alludes to the structuralist tenet of the perfect autonomy of the signifier. Pier Luigi Pieralli, the director of Ouroboros, created The Death of Geometry from a poem by Giuliano Scabia. The poem has the same relationship to the performance as it might have, for example, to a musi…

  • Giuliano Vasilicò's PROUST , with Some Antecedents

    Open Access•Mario Prosperi•ARTICLE•The Drama Review TDR•1978

    Giuliano Vasilicò began his theatrical career in 1968 when he returned to Italy from Sweden, where he had spent eight years studying literature and the arts, though without any specific concern for the theatre. His sister, Lucia Vasilicò, had been working in Rome as an actress in experimental theatre and films with, among others, Fellini and Warhol. With her and Ingrid Enbom, who had come with him from Sweden, he began to articulate his ideas and…

  • Drama Therapies in Hospitals

    Open Access•Judith C Goodman, Judith Goodman et al.•ARTICLE•The Drama Review TDR•1976•Cited by: 3

    The use of the arts as a therapeutic tool is widespread today. Hospitals all over the country employ music, dance, and art therapies, as well as “psychodramatists” as an adjunct to more traditional methods of treatment. In addition, a small number of institutions have recently begun programs of “theatre therapy” in which patients work collectively on a performance under the supervision of trained theatre practitioners. Psychodrama, the oldest of …

  • Drama Therapies in Hospitals

    Open Access•Judith C Goodman, Judith Goodman et al.•ARTICLE•The Drama Review TDR•1976•Cited by: 3

    The use of the arts as a therapeutic tool is widespread today. Hospitals all over the country employ music, dance, and art therapies, as well as “psychodramatists” as an adjunct to more traditional methods of treatment. In addition, a small number of institutions have recently begun programs of “theatre therapy” in which patients work collectively on a performance under the supervision of trained theatre practitioners. Psychodrama, the oldest of …

  • Drama Therapies in Hospitals

    Open Access•Judith C Goodman, Judith Goodman et al.•ARTICLE•The Drama Review TDR•1976•Cited by: 3

    The use of the arts as a therapeutic tool is widespread today. Hospitals all over the country employ music, dance, and art therapies, as well as “psychodramatists” as an adjunct to more traditional methods of treatment. In addition, a small number of institutions have recently begun programs of “theatre therapy” in which patients work collectively on a performance under the supervision of trained theatre practitioners. Psychodrama, the oldest of …

  • Contemporary Italian Theatre

    Open Access•Mario Prosperi•ARTICLE•The Drama Review TDR•1978

    What is particularly Italian about the theatre that is produced in Italy? What characteristics make it different—recognizable—to the foreign spectator? After the war, Italian theatre was scarcely significant for its innovations. An effort to restore tradition in theatre absorbed most creative energies. Three outstanding influences belong to this period. The first is that of the Academy of Dramatic Arts, founded in 1936 by Silvio D'Amico with the …

  • Ouroboros’ The Death of Geometry

    Open Access•Mario Prosperi•ARTICLE•The Drama Review TDR•1978

    The group Ouroboros takes its name from an alchemical symbol: a dragon that forms a perfect circle by holding its tail in its mouth. The symbol, according to the group, alludes to the structuralist tenet of the perfect autonomy of the signifier. Pier Luigi Pieralli, the director of Ouroboros, created The Death of Geometry from a poem by Giuliano Scabia. The poem has the same relationship to the performance as it might have, for example, to a musi…

  • Giuliano Vasilicò's PROUST , with Some Antecedents

    Open Access•Mario Prosperi•ARTICLE•The Drama Review TDR•1978

    Giuliano Vasilicò began his theatrical career in 1968 when he returned to Italy from Sweden, where he had spent eight years studying literature and the arts, though without any specific concern for the theatre. His sister, Lucia Vasilicò, had been working in Rome as an actress in experimental theatre and films with, among others, Fellini and Warhol. With her and Ingrid Enbom, who had come with him from Sweden, he began to articulate his ideas and…

  • Ermione

    Open Access•Mario Prosperi•ARTICLE•The Drama Review TDR•1979

    Ermione , the title of my play, was also the name of the monkey who performed with me in it. It was originally the name of a mythical character, the daughter of Helen and Menelaos; more recently, It was used by Gabriele D'Annunzio in his poem “The Rain in the Pine Forest.” In my play, the monkey corresponded to D'Annunzio's “nymph with the sylvan face” who accompanied him through the metaphorical wood of life. The text of Ermione was comprised of…

  • Colosimo's Freud, Mein Freund

    Open Access•Mario Prosperi•ARTICLE•The Drama Review TDR•1979

    Gianni Colosimo is the founder and sole member of the Teatro Ludico Libidinale (Ludicrous Libidinal Theatre). His performance, the title of which means “Freud, My Friend,” announces a personal poetics in autoperformance. Colosimo does individually what others in the so-called Post Avant-Garde (T77) do collectively; that is, he plays with “symptoms” of his own pathology and puts them together in a sort of “kinetic” analysis. He tries to materializ…

  • "Massimo Castri's "It Is So (If You Think So!)

    Mario Prosperi•ARTICLE•The Drama Review TDR•1981

  • The Masks of Lipari

    Mario Prosperi•ARTICLE•The Drama Review TDR•1982

  • Marina Confalone

    Mario Prosperi•ARTICLE•The Drama Review TDR•1985

  • The Masks of Menander

    Open Access•Mario Prosperi•ARTICLE•Res: Anthropology and Aesthetics•1994

Art (8 works) · Art history (4 works) · Philosophy (4 works) · Philosophy (4 works) · Sociology (4 works) · Computer Science (3 works) · History (3 works) · Italian Fascism and Post-war Society (3 works) · Italian Literature and Culture (3 works) · Literature (3 works)

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