Carlo Alberto Petruzzi

Biographic Data

ID691374
NAMECarlo Alberto Petruzzi
GIVEN NAMESCarlo Alberto
FAMILY NAMEPetruzzi
SIGNATUREPETRUZZI C A
AFFILIATIONSindependent scholar
ORCID0000-0002-6631-5051
VERIFIEDYes
TOTAL WORKS10
TOTAL CITATIONS0
AUTHOR COUNT10
EDITOR COUNT0
FIRST PUBLICATION YEAR2019
LATEST PUBLICATION YEAR2025
H-INDEX0

  • The Archive of Carmelo Bene

    Open AccessCarlo Alberto PetruzziARTICLECalifornia Italian Studies2025

    Following legal disputes upon the death of Carmelo Bene (1937–2002), his archive was dispersed, and no inventory of the materials has ever been published. My article is a first attempt to organize the documents that were part of Bene’s original archive, reconstructing over fifty manuscript documents that are organized thematically and for each of which is provided a description of the material. My reconstruction of Bene's handwritten documents in…

  • Manfred di Carmelo Bene Al Teatro alla Scala: Un'intervista con Donato Renzetti

    Alessandro Zuppardo, Carlo Alberto PetruzziARTICLEItalica2025

    All'interno della produzione teatrale di Carmelo Bene, il Manfred (1979)—con testo di Byron e musiche di Schumann—rappresenta un punto di svolta sull'uso dell'amplificazione e dell'uso della strumentazione elettronica che caratterizzerà tutta la sua produzione successiva. Donato Renzetti è uno dei più importanti direttori d'orchestra italiani e lavorò con Carmelo Bene sul Manfred presentato al Teatro alla Scala nel 1980. L'intervista discute dell…

  • Music in the works of Pier Paolo Pasolini and Carmelo Bene

    Open AccessCarlo Alberto Petruzzi, Alessandro ZuppardoARTICLEForum Italicum A Journal of…2025References: 1

    This paper attempts to relate some common elements in the choice of music in Pier Paolo Pasolini's films and Carmelo Bene's plays and movies. In their works, music is detached from its practical use as a soundtrack, and both authors freely use pieces ranging from more sophisticated works of operatic and symphonic repertoires to more popular genres. Although Pasolini and Bene had a rather divergent poetic, they shared a very deep interest in music…

  • «Je suis encore vivant!»: Note sui Caligola di Carmelo Bene

    Open AccessCarlo Alberto PetruzziARTICLEMimesis journal2023

    The Italian actor, film director and thinker, Carmelo Bene (1937-2002) is one of the greatest figures of Italian theatre of the XXth century. Bene made his debut in Albert Camus’ Caligula in 1959 and later presented two other versions of the play: a recital in Florence (1960) and a second edition staged in Genova in 1961, which had been until now neglected by the critic. The article focuses on the three editions of Caligula and although Bene’s la…

  • Carmelo Bene e as Instituições Culturais Italianas

    Open AccessCarlo Alberto Petruzzi, Silvia Balestreri Nunes et al.ARTICLECena2023

    O artigo trata de um artista muito original, Carmelo Bene, que desenvolveu por mais de quarenta anos uma profícua carreira nas artes da cena e em outras artes correlatas, e sua relação com as instituições culturais de seu país, a Itália da segunda metade do século XX. Em pesquisas realizadas sobre diferentes aspectos da vida artística de Bene, frequentemente apareceram tematizadas diretamente ou através de relatos de pessoas que lhe eram próximas…

  • There are no bosses between us, ours is a poetics of compromises: An Interview with RezzaMastrella

    Carlo Alberto Petruzzi, Flavia Mastrella et al.ARTICLETheatre Journal2023

    There are no bosses between us, ours is a poetics of compromises”: An Interview with RezzaMastrella Carlo Alberto Petruzzi (bio), Flavia Mastrella, and Antonio Rezza (bio) Widely considered amongst the most innovative figures in Italian contemporary art, Antonio Rezza (1965) and Flavia Mastrella (1960) (also known as “RezzaMastrella”) are two artists based in the province of Rome. Their creations span across different media, including theatre, li…

  • Rapt and En-chanted: Carmelo Bene’s Voice and the Beyond of Theatre

    Open AccessGiulia Vittori, Francesco Chillemi et al.ARTICLECalifornia Italian Studies2022

    Carmelo Bene (1937–2002) was an Italian theatre artist who radically transformed the practice and conception of Western theatre from a series of points of view. He dramaturgically re-conceived famous plays, innovatively worked on voice, and reached to film and music, as well as engaged his theatre vision with philosophy. This introductory essay on Bene’s philosophical thought and theatrical praxis seeks to arouse interest in his work among Englis…

  • L'uso della scenografia nell'ultimo Carmelo Bene: Intervista a Tiziano Fario

    Carlo Alberto PetruzziARTICLEItalica2021

    Diplomato all'Accademia di Belle Arti di Roma, Tiziano Fario lavora in teatro sin dai primi anni Ottanta ed è stato inoltre lo scenografo degli ultimi spettacoli di Carmelo Bene1. L'intervista permette di ripercorrere gli undici anni di collaborazione professionale fra Fario e Bene. Vengono qui discussi i singoli spettacoli a cui Fario prese parte nonché alcune tematiche centrali nel teatro di Bene come l'apporto della tecnologia, il ruolo della …

  • Lorenzaccio di Carmelo Bene: Dalle fonti alla messinscena

    Open AccessCarlo Alberto PetruzziARTICLEMimesis journal2020

    The aim of this paper is to provide an analysis of Carmelo Bene’s Lorenzaccio. The archive of the Foundation L’Immemoriale di Carmelo Bene as well as consultations of Bene’s library, enabled to identify literary and philosophical sources of the play. Through the use of several handwritten documents regarding the play, I discuss solutions adopted by Bene to set Lorenzaccio on stage. A brief note in the end of the article confronts the only availab…

  • Il ritornello crudele dell'immagine: Critica e poetica del cinema di Carmelo Bene

    Carlo Alberto PetruzziARTICLEItalica2019