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Cycle
of screenings 14
February and 19 February 2007 Istituto
Veneto di Scienze,
In
association with |
| “The supreme, divine Borelli dazzles in Giolitti’s ‘Italia’”, wrote Eugenio Ferdinando Palmieri almost 70 years ago. Thanks to discoveries and restorations made in recent years, mainly by the Cineteca di Bologna, it is now possible to once more witness the brilliance of an actress who, in the course of just five years from her debut in “Ma l‘amor mio non muore”, helped give rise to the figure of the movie star and point out the direction and possibilities of screen acting freed from both stage and naturalist models. An Italian and international cult following exploded around Lydia Borelli, who immediately became emblematic of Italian silent movies and their acting style. Despite denying her artistic qualities, Antonio Gramsci recognised the erotic value of her body language. This short review is intended to recognise Borelli’s part in interpreting the numerous cultural influences then acting on a cinema eager to become a total work of art. Borelli drew on many of the moods and ideas of pre-Raphaelite painting and of Art Nouveau and symbolist culture, managing to graft them onto a modern style of acting that boldly strove to represent injuries to the spirit, disturbing passions, the unconscious, madness and split personalities. Programme Wednesday
14 February 2007 Monday
19 February 2007 screening
of
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