Sul mito di Alcesti Euripide costruisce un dramma ambiguo; mescolando luoghi tipici della retorica tragica; elementi di marca satiresca; spunti di diatriba filosofica; intensificando lrsquo;aspetto paradossale della storia e restituendola come enigma che si condensa nel finale dominato dalla figura della donna velata. Un enigma che ispireragrave;; nel secondo dopoguerra; anche Alberto Savinio e la sua contestatissima piegrave;ce; Alcesti di Samuele; dove il mito srsquo;intreccia alla storia vera di una donna ebrea; suicidatasi per non essere drsquo;intralcio al marito in unrsquo;Europa insanguinata dalla follia nazista. Il rapporto fra modello e riscrittura; perograve;; non si risolve in semplice ldquo;attualizzazione dellrsquo;anticordquo;: egrave; un ben piugrave; sottile gioco di prossimitagrave; e distanziamenti; un dialogo che teorizza il proprio farsi. La tessitura analogica che connette il mito al contemporaneo si rivela spazio complesso e conflittuale; in cui alla narrazione si affianca una contronarrazione; al tragico lrsquo;antitragico; al mito la sua dissoluzione: proprio in questo si mostra del resto la profonda affinitagrave; di Savinio con Euripide; abile a scovare nei miti tensioni ossimoriche e destabilizzanti. Da entrambi Alcesti egrave; messa in causa come incarnazione di un conflitto fra identitagrave; e rappresentazione (assenza e presenza); mentre lo scambio che sostanzia il suo sacrificio viene scandagliato su un piano in cui la dicotomia fra vita e morte si riduce a pura approssimazione. Di qui; dunque; la possibilitagrave; di esplorare il classico nel cuore di un Novecento disincantato e contraddittorio; noncheacute; di riattraversare la riflessione saviniana sul teatro; sulla tragedia; sul contemporaneo.
#1298471 in eBooks 2016-02-21 2016-02-21File Name: B01C2DQZJM
Review
0 of 0 people found the following review helpful. Excellent work by the world authority on the voiceBy Kevin NorbergExcellent work by the world authority on the voice. Sad that he has passed from this earth. But Miller left us with the best of the best on vocal production and singing technique. My wife studied privately with him at Oberlin Conservatory (he only took on four new freshmen a year). She was privileged to study with Richard all four years as an undergrad and she won a Fulbright scholarship because of it. Highly recommended for beginners; advanced; pros; and teachers of voice.0 of 0 people found the following review helpful. A GIFT FOR THE GIFTED.By Mister GlashausAs soon as I slow down a bit I will obtain cross-sectional drawings of the human cranial anatomy so that I can visualize the parts and pieces of our vocal system so well described in this one of a kind masterpiece. When I can fully appreciate what Miller is saying I hope to have much better control of my singing voice gift. Australian Prima Dona Marjorie Lawrence tried to explain to me during my lessons under her how to control my bass voice... but it took me many years later to see what she was saying to me. Thanks for writing it all down!17 of 17 people found the following review helpful. Welcome addition to my libraryBy CustomerRichard Miller has added yet another tome to his expanding library on the classically trained singing voice with "Securing Baritone; Bass-Baritone; and Bass Voices". This edition will have pride of prominence next to his other books on the singing instrument.What makes this book unique is its focus on the lower male voice. The text offers exercises and repertoire for vocalization. The unique quality of this book stands in its writing. Miller has shed much of his elaborate writing style to create a book that is direct; easy-to-read; and completely accessible to both performers and teachers of singing. The layout follows his other books in the chapters on onset; breath management; resonance; agility; and messa di voce. He offers an additional chapter entitled; "Pedagogic Uses of the Falsetto" which entails exercises intended to release aggression in the passaggio and above. The musical examples are gleaned from the art song; oratorio; and operatic literatures and provide daily vocalization material for all levels of singers. One feature of this book is that it does not overwhelm the reader with copious amounts of exercises; but provides the basic starting point from which to grow. For example; there are not pages and pages of agility exercises; but just enough coupled with the rep suggestions to make a practical agility session.Special emphasis on issues in the baritone voice such as covering take prominence; as well as breath management (explained quite beautifully for Miller).In all; this is a highly recommended volume for singers and their teachers and will happily stand next to "Training Soprano Voices" and "Training Tenor Voices" as an important voice traning guide. Would it be too much to hope for a "Training Mezzo Voices" in the next several years?
