La figlia di Iorio di Gabriele D'Annunzio e Francesco Paolo Michetti: la rappresentazione letteraria e visiva come "pre-testo" per una lettura musicale

In the first half of the XX century the knowledge and the recovery of faraway cultures or those normally foreign to the western cultivated milieus brought about the development of a musical style characterized by the taste of exoticism and archaism. This aspect was not only perceived in the musical field but also in the arts in general.At Francavilla al Mare (Chieti) in the former Franciscan convent of Santa Maria del Gesù, the painter Francesco Paolo Michetti together with other artists shared the project to reach a form of art which would synthesize their different experiences and focus on the theme of nature and the Abruzzo people. These common interests brought about the meeting between Gabriele D'Annunzio and Michetti, opening the way to the rustic tragedy The daughter of Iorio. This play, full of visual and musical expressions, was characterized by an exotic dimension, overflowing with colour, rhythm, light and folk songs.This paper focuses on the link between visual, literary and musical representations of La figlia di Iorio, with particular emphasis on the music and on the several recreations stimulated by this subject playing the role of 'pre-text' during the twentieth century.

XX世纪上半叶，对遥远文化或西方知识界通常陌生的文化的认知与复兴，推动了一种以异域风情与复古趣味为特征的音乐风格的发展。这一特征不仅体现在音乐领域，也广泛存在于整体艺术界。在基耶蒂省的弗朗卡维拉阿尔马雷（Francavilla al Mare, Chieti），前圣玛利亚德尔热苏（Santa Maria del Gesù）方济各修道院中，画家弗朗切斯科·保罗·米凯蒂（Francesco Paolo Michetti）与其他艺术家共同发起了一项艺术计划：旨在创造一种融合各方经验、聚焦自然与阿布鲁佐（Abruzzo）人民主题的艺术形式。共同的艺术追求促成了加布里埃尔·邓南遮（Gabriele D'Annunzio）与米凯蒂的相遇，为乡村悲剧《伊奥里奥的女儿》（The Daughter of Iorio）的诞生铺平了道路。这部剧作充满视觉与音乐表达，以浓郁的异域色彩为特征，洋溢着缤纷的色彩、韵律、光影与民歌元素。本文聚焦于《伊奥里奥的女儿》（La figlia di Iorio）在视觉、文学与音乐领域的呈现之间的关联，尤其强调其音乐部分，以及20世纪中该主题作为‘前文本’（pre-text）所激发的多种再创作。