Antonio Pietrangeli
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| - | '''''Le Cocu magnifique''''' is a [[Belgium|Belgian]] play by [[Fernand Crommelynck]]. It was first published in 1921. | + | '''Antonio Pietrangeli''' (19 January 1919{{spaced ndash}}12 July 1968) was an [[Italy|Italian]] [[film director]] and [[screenwriter]]. He was a major practitioner of the [[Commedia all'italiana]] genre. |
| - | The play was performed in the Netherlands for the first time on November 15, 1956 by the Utrecht Student Theatre Association (Utrechtse Studenten Toneel Vereniging). The translation was by Krijn Prince, and the play was directed by professional director Jack Dixon. | + | ==Filmography== |
| - | + | * ''[[Prelude to Madness]]'' (1948) | |
| - | ==Plot== | + | * ''[[Empty Eyes (1953 film)|Empty Eyes]]'' (''Il sole negli occhi'') (1953) |
| - | Bruno, the village scribe, is married to a beautiful and devoted young woman named Stella. He makes a good living composing love letters for the uneducated villagers, many of which are addressed to his wife. Bruno's eloquence can lift him off into rhapsodies of brilliant exaggeration. As a character verging on the manic, his paranoia is easily excited. He convinces himself that his fear of being cuckolded can be appeased only by the certainty of knowing he is a cuckold. Therefore, he offers his wife first to his best friend and then, when that fails to appease him, to all the young men of the village. This demented decision disrupts village life: the town turns violently against him, and the women of the village threaten Stella with torture, degradation and expulsion. | + | * ''Girandola 1910'' – Episode of ''[[Mid-Century Loves]]'' (''Amori di mezzosecolo'') (1953) |
| - | + | * ''[[The Bachelor (1955 film)|The Bachelor]]'' (''Lo scapolo'') (1955) | |
| - | ==Constructivist design== | + | * ''[[March's Child]]'' (''Nata di marzo'') (1957) |
| - | [[Vsevolod Meyerhold]]'s production (1922), with set and props based on the designs of [[Lyubov Popova]], broke away from the “conventional framing of the acting area” by eliminating the wings and proscenium arch from the scenery. He believed that the scenery should just represent the setting in its most basic form rather than “illusionistic settings”. Due to the nature of theatre, Theatrical Constructivism is somewhat of an oxymoron. Its use in theatrical productions is not strictly utilitarian like many constructivists desired. Theatre requires a certain amount of subjectivity and use of imagination on the audience's end. Meyerhold's production, despite being vastly different from what people were accustomed to, was received very well. The set for ''The Magnanimous Cuckold'' consisted of framework, rotating wheels in the background to signify machinery, and a windmill to indicate the play's location. The intention of the simplified scenery was to “organize a scenic space in the way most convenient for the actors”. | + | * ''[[Souvenirs d'Italie]]'' (''Souvenir d'Italie'') (1957) |
| - | + | * ''[[Adua and Her Friends]]'' (''Adua e le compagne'') (1960) | |
| - | In addition to facilitating the actors, the scenery was also designed with the expectation that it could be presented outside as well, due to the closing of Meyerhold's theater. This resulted in the set being easily deconstructed and reconstructed, a strong indication of constructivist influence on the production. | + | * ''[[Ghosts of Rome]]'' (''Fantasmi a Roma'') (1961) |
| - | + | * ''[[The Girl from Parma]]'' (''La parmigiana'') (1963) | |
| - | Another indication of this influence comes from a large, black, rotating disc in the background. On this disc the letters 'CR-ML-NCK' were painted in white, which made it far more visible when the disc rotated (along with the two wheels) which coincided with the changing passions of the characters. There was not a subjective meaning to the letters on the disc; they referenced the writer (Crommelynck), and made the rotation of the disc more obvious than a purely black disc would be. | + | * ''[[La visita]]'' (1963) |
| - | + | * ''[[The Magnificent Cuckold]]'' (''Il magnifico cornuto'') (1964) | |
| - | The simplified scenery in constructivist theatre was simply meant to inform the idea of the play, not to take on a more important or formal position. | + | * ''[[I Knew Her Well]]'' (''Io la conoscevo bene'') (1965) |
| - | + | * ''Fata Marta'' – Episode of ''[[Sex Quartet]]'' (''Le fate'') (1966) | |
| - | The ''Magnanimous Cuckold'' stage by Meyerhold "unveiled a new Constructivist and biomechanical theatre, entirely based on movement and a mastery of the stage space and time". | + | * ''[[How, When and with Whom]]'' (''Come, quando, perché'') (1969) |
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| - | ==Film adaptation== | + | |
| - | ''[[The Magnificent Cuckold]]'' or ''[[Il magnifico cornuto]]'' is a [[Italian films of 1965|1965]] [[Cinema of Italy|Italian]] [[film]] directed by [[Antonio Pietrangeli]] and adapted from the original play. | + | |
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Revision as of 20:14, 19 November 2021
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Antonio Pietrangeli (19 January 1919Template:Spaced ndash12 July 1968) was an Italian film director and screenwriter. He was a major practitioner of the Commedia all'italiana genre.
Filmography
- Prelude to Madness (1948)
- Empty Eyes (Il sole negli occhi) (1953)
- Girandola 1910 – Episode of Mid-Century Loves (Amori di mezzosecolo) (1953)
- The Bachelor (Lo scapolo) (1955)
- March's Child (Nata di marzo) (1957)
- Souvenirs d'Italie (Souvenir d'Italie) (1957)
- Adua and Her Friends (Adua e le compagne) (1960)
- Ghosts of Rome (Fantasmi a Roma) (1961)
- The Girl from Parma (La parmigiana) (1963)
- La visita (1963)
- The Magnificent Cuckold (Il magnifico cornuto) (1964)
- I Knew Her Well (Io la conoscevo bene) (1965)
- Fata Marta – Episode of Sex Quartet (Le fate) (1966)
- How, When and with Whom (Come, quando, perché) (1969)
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Antonio Pietrangeli" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
