This research project aims to reconstruct the textual corpus of Andrei Tarkovsky and Tonino Guerra’s script Nostalghia, analyzing its genesis, the stages of its composition and its variants. The first, introductory part sets out the general framework of the main theories on the instability of the screenplay, moreover focusing on Tarkovsky and Guerra’s point of view in this regard. This part also includes an analysis of the methodological approaches applied to recent case studies; from this, the centrality of genetic criticism is foregrounded, a concept based on a notion of the filmic text as an open and constantly evolving work. The second part deals with the specific case of Nostalghia by systematizing its – largely unpublished – materials. These are re-traced through archival research, oral testimonies and other documentation that serve the reconstruction of the corpus, starting with the director’s fundamental Diaries, covering the entire period of its conception and realization (1976-1983). The different versions of the text, divided into three compositional phases – Putešestvie po Italii ili nostal’gija (Journey through Italy or nostalghia): the first drafts; Nostal’gija: the literary script in Russian; and Nostalghia: the text translated and developed in Italian – are analyzed here by comparing their main variants and examining the development of the narrative as a whole. The third part draws conclusions regarding mutations in the different versions of the script: in particular, the transformations of the journey made by the protagonist, the influence of Dostoevsky’s work and the growing contribution of Guerra’s poetics. The appendix of the thesis contains the transcription and translation of the texts that it was deemed necessary to quote in full, a set of photographic reproductions of the archival materials and the collected interviews.

La ricerca si propone di ricostruire il corpus testuale della sceneggiatura di Nostalghia di Andrej Tarkovskij e Tonino Guerra, analizzandone genesi, fasi compositive e varianti. Nella prima parte introduttiva si espone il quadro generale delle principali teorie sulla questione dell’instabilità propria del testo realizzato per il cinema, focalizzando l’attenzione anche sul punto di vista di Tarkovskij e Guerra. Questa parte è inoltre comprensiva di un’analisi degli approcci metodologici individuati in casi di studio recenti, dai quali si determina la centralità della critica genetica, fondata su una concezione del testo filmico come opera aperta e in continuo divenire. La seconda parte affronta il caso specifico di Nostalghia sistematizzandone i materiali – in gran parte inediti – rintracciati mediante ricerche d’archivio, le testimonianze orali e le altre documentazioni utili alla ricostruzione del corpus, a partire dai fondamentali Diari del regista che ripercorrono tutto il periodo di elaborazione dell’opera (1976-1983). Le diverse versioni del testo, suddivise in tre fasi compositive – Putešestvie po Italii ili nostal’gija (Viaggio in Italia o nostalghia): le prime stesure; Nostal’gija: la sceneggiatura letteraria in lingua russa; Nostalghia: il testo tradotto e sviluppato in lingua italiana – sono qui analizzate confrontandone le varianti principali ed esaminando il divenire della narrazione nel suo complesso. Nella terza parte si traggono le conclusioni in merito alle mutazioni evolutive delle differenti versioni della sceneggiatura: in particolare, le trasformazioni dell’itinerario compiuto dal protagonista, l’influenza difforme dell’opera di Dostoevskij e l’apporto crescente della poetica di Guerra. L’appendice contiene la trascrizione dei testi che si è ritenuto necessario riportate integralmente, alcune riproduzioni fotografiche dei materiali d’archivio e le interviste raccolte.

Da Viaggio in Italia a Nostalghia: tappe evolutive della sceneggiatura di Tarkovskij e Guerra

MATTEUCCI, CRISTINA
2024

Abstract

This research project aims to reconstruct the textual corpus of Andrei Tarkovsky and Tonino Guerra’s script Nostalghia, analyzing its genesis, the stages of its composition and its variants. The first, introductory part sets out the general framework of the main theories on the instability of the screenplay, moreover focusing on Tarkovsky and Guerra’s point of view in this regard. This part also includes an analysis of the methodological approaches applied to recent case studies; from this, the centrality of genetic criticism is foregrounded, a concept based on a notion of the filmic text as an open and constantly evolving work. The second part deals with the specific case of Nostalghia by systematizing its – largely unpublished – materials. These are re-traced through archival research, oral testimonies and other documentation that serve the reconstruction of the corpus, starting with the director’s fundamental Diaries, covering the entire period of its conception and realization (1976-1983). The different versions of the text, divided into three compositional phases – Putešestvie po Italii ili nostal’gija (Journey through Italy or nostalghia): the first drafts; Nostal’gija: the literary script in Russian; and Nostalghia: the text translated and developed in Italian – are analyzed here by comparing their main variants and examining the development of the narrative as a whole. The third part draws conclusions regarding mutations in the different versions of the script: in particular, the transformations of the journey made by the protagonist, the influence of Dostoevsky’s work and the growing contribution of Guerra’s poetics. The appendix of the thesis contains the transcription and translation of the texts that it was deemed necessary to quote in full, a set of photographic reproductions of the archival materials and the collected interviews.
25-mar-2024
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11576/2733931
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