|
Umberto Barbaro was an Italian film critic and essayist. He was born in Acireale on January 3, 1902 and died on March 19, 1959 in Rome. == Biography == Umberto Barbaro was active in many fields: fiction, drama, cinema, criticism and history of figurative art. In 1923 he was the editor of ''La bilancia'' and collaborated with Dino Terra, Vinicio Paladini and Paolo Flores. In 1927 he was among the leaders of the ''Movimento Immaginista'' and one of the "left" among the ''Futurists''. His work received attention in France, America, Russia and Germany.〔Vicina al movimento Immaginista, la casa editrice "La Ruota dentata" pubblica un numero unico di una rivista con questo stesso titolo e numerosi testi futuristi〕 With Anton Giulio Bragaglia he founded the ''Teatro degli Indipendenti'' in Rome.〔Per il Teatro degli Indipendenti scrive testi, poi rappresentati, tra i quali ''Il bolide, scalari e vettori'', ''Ancorato al nome di Maria'' e, insieme a Bonaventura Grassi, '' L'inferno''.〕 He knew Russian and German and translated the works of Heinrich von Kleist, Mikhail Bulgakov and Frank Wedekind into Italian. Barbaro was a journalist, essayist, novelist and his writings appear in several magazines of the time.〔Tra l'altro collabora a ''Occidente'', ''L'Italia letteraria'', ''Quadrivio'', ''L'italiano'', ''L'Italia vivente''.〕 In 1936 he co-founded, with Luigi Chiarini, the Centro Sperimentale di Cinematografia in Rome and became a teacher. They published the monthly film magazine ''Bianco e Nero'', directly tied to the Centro Sperimentale. After the Second World War, Barbaro continued his studies on cinema in general and in particular Soviet cinema. He made additional translations into Italian of the writings of theorists of cinema, including Vsevolod Pudovkin, Sergej Mikhailovich Eisenstein, Rudolf Arnheim and Béla Balázs. In 1947 he also translated Sigmund Freud.〔Tra le altre traduzioni: Vsevolod Illarionovič Pudovkin, ''Film e fonofilm'', Roma, Edizioni d'Italia, 1936; Vsevolod Illarionovič Pudovkin,''L'attore nel film'', Roma, Edizioni dell'Ateneo, 1947; Sigmund Freud, Nuovi saggi di psicanalisi, 1947.〕 In 1945 Barbaro was appointed Special Commissioner by the Centro Sperimentale di Cinematografia, a position he held until 1947, when it was removed for political reasons. Barbaro was a backer of the neo-realist cinema. Barbaro began his filmmaking debut as writer, in 1933 with a documentary, ''Cantieri dell'Adriatico'' followed by his only full length film, ''L'ultima nemica''. After the war turns, with the help of Roberto Longhi, Barbaro made two short of films dedicated to Carpaccio and Caravaggio. Barbaro was a film critic for ''L'Unità'', the weekly ''Vie Nuove e a Filmcritica'', and the fortnightly ''L'Eco del cinema'' magazines. Umberto Barbaro has been elected to the "Biblioteca del Cinema'' and awarded the ''Premio Nazionale Filmcritica'' 〔Gian Piero Brunetta, ''Umberto Barbaro e l'idea di neorealismo: 1930-1943'', Padua, Liviana Editrice, 1969; Umberto Carpi, ''Bolscevico immaginista'', Napoles, Liguori, 1981; Maria Di Giovanna, ''Teatro e narrativa di Umberto Barbaro''. Rome, Bulzoni, 1992; Lea Durante, ''Umberto Barbaro e il "realismo" della letteratura'', in Umberto Barbaro,''L'essenza del can barbone'', Napole, Liguori, 1997; ''Dossier Barbaro'', in ''Cinemasessanta'', 303, October–December, Reggio Calabria, Città del sole Ed.,2009.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Umberto Barbaro」の詳細全文を読む スポンサード リンク
|