{"id":3145,"date":"2025-04-28T08:22:52","date_gmt":"2025-04-28T08:22:52","guid":{"rendered":"https:\/\/www.gerardoguerrieri.com\/?page_id=3145"},"modified":"2025-06-27T07:31:02","modified_gmt":"2025-06-27T07:31:02","slug":"oh-america","status":"publish","type":"page","link":"https:\/\/www.gerardoguerrieri.com\/en\/oh-america\/","title":{"rendered":"Stanza 4. OH, AMERICA"},"content":{"rendered":"
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Title page of \"This week in Rome\", weekly English magazine, published in Rome in the 1960's and 1970's<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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virtual exhibit Room four<\/b><\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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OH, AMERICA!<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Gerardo Guerrieri and Anne d'Arbeloff's Teatro Club opens a window on America, bringing the boldest voices of avant-garde theatre to Rome. The Living Theatre, Afro-American theatre, and the experiments of the New York scene become part of a dialogue that crosses the ocean. From official stages to independent spaces, this section describes the link between Italian theatre and the transformations of the American scene, between censorship and freedom, experimentation and identity.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Gallery 1:<\/b> LIVING THEATRE<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Between 1961 and 1983, the Living Theatre and Gerardo Guerrieri and Anne d'Arbeloff's Teatro Club built a partnership that marked the history of Italian theatre. Julian Beck and Judith Malina's company brought a new way of understanding the stage to Italy: a political, physical, anarchic theatre capable of breaking the distance between actors and audience. From its first performances in Rome at the Teatro Parioli, the Teatro Club has promoted a dialogue between American experimentation and European theatrical tradition. This relationship is not limited to the stage: letters, telegrams and press articles reveal a bond that crosses censorship, arrests and battles for artistic freedom. Through images, documents and testimonies, this section traces the stages of an encounter that changed the Italian and European theatre scene.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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In 1961, The Living Theatre arrived in Italy at the invitation of the Teatro Club, staging The Connection at the Teatro Parioli. Four years later, in 1965, The Brig and Mysteries and Smaller Pieces shocked Italian audiences. But the journey was bumpy: in 1964, the company was expelled from Brussels and repatriated with 30 days in jail, forcing them to postpone their new debut. Between official documents and emergency letters, the company defies rules and borders.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Guerrieri parla del Living da programma per Antigone<\/b>
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This text belongs to the playbill of the Teatro Club<\/em> in the year 1957. The ironic pamphlet, <\/em>with an evocative title \"Speech to an associate sleeping in his armchair<\/em>is a sort of \"statement of intent\" to make Rome a European capital of theatre, like London, Paris, Berlin.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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