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Anna Magnani: La biografia (Overlook) by Matilde Hochkofler

By Matilde Hochkofler

Anna Magnani si è sempre sentita abbandonata sin da quando bambina viveva a Roma con los angeles nonna “tra una lacrima di troppo e una carezza in meno”, quella carezza che avrebbe voluto ricevere dalla mamma lontana. Proprio dal desiderio di quell’amore negato nasce l. a. sua vocazione artistica che los angeles spinge a cercarlo nell’applauso del pubblico. Dalle tavole del palcoscenico dove si rivela interprete di dolente drammaticità all’affermazione comica nelle riviste accanto a Totò, dalle particine nei movie degli esordi al grande riconoscimento internazionale con Roma città aperta, fino a l. a. rosa tatuata che, prima attrice italiana, le fa conquistare l’Oscar. Nei suoi ricordi, in quelli del figlio Luca, nelle lettere degli amici e dei compagni di lavoro rivivono i retroscena drammatici e irresistibili del cinema tra Cinecittà e Hollywood sullo sfondo della società italiana e dei suoi cambiamenti.

Il volto irregolare segnato dalle esperienze della vita, i grandi occhi luminosi, i capelli scarmigliati, l. a. voce roca, l. a. risata improvvisa, Anna vive il profondo bisogno di libertà che l. a. porta a cercare l’indipendenza. Le sue appassionate storie d’amore, le tempestose litigate, le polemiche e le provocazioni ne fanno l’interprete-personaggio che sullo schermo si alimenta della propria fragilità, delle insicurezze e delle contraddizioni di un carattere specialty, sempre sul punto di esplodere. los angeles donna e l’attrice non sanno separarsi l’una dall’altra nelle determine femminili a cui dà vita con tutta se stessa, con l. a. partecipazione totale di chi non si allontana mai dalla propria autobiografia. Nei personaggi indimenticabili dei suoi movie – los angeles chief di L’onorevole Angelina, l’amante di Una voce umana, l. a. mamma di Bellissima, l. a. darkish girl di Nella città l’inferno, l. a. comparsa di Risate di gioia, l. a. prostituta di Mamma Roma – Anna ci viene incontro con le braccia aperte in una richiesta di aiuto, di complicità, d’amore.

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Extra info for Anna Magnani: La biografia (Overlook)

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Eggeling and Richter’s research sought to identify especially the key features of spatial relations. The idea that there might be a grammar of spatial relations was a fundamentally Constructivist notion. László Moholy-Nagy wrote of the need to “apprehend the elements of optical expression” (Moholy-Nagy 1933; cited in Wolf 1989: 16) and of the need to develop a “standard language of optical expression”. (As cited in Wolf 1989: 16) Like Richter, he, too, believed this language – that would be universal since it would be 32 R.

Rhythm is inwardness. Rhythm is the power of nature. Rhythm it is that forms and animates incommunicable ideas, and through which we are bound to the elementary forces of nature”. (As cited in Wolf 1989: 19) Because the forming process depends on unifying contrasting forms by rhythm, the will-to-form is grounded in emotions as well. “The emotional power of form leads to rhythm as the essence of emotional expression”, Richter stated, referring to the form of expression concerned with supra-individualistic, transcendent feeling.

Generalbaß’ is the German word for ‘thoroughbass’, a 17th and 18th century term denoting the basso continuo part, so called because an independent bass part plays throughout the composition. S. Bach’s compositions, make use of a continuo part. Those that used a basso continuo were so preponderant amongst all the compositions of the period that the era is often referred to as the thoroughbass era. The basso continuo part was written as a bass line with numbers under or over or beside the bass notes, to indicate what chords to play.

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