{"id":26586,"date":"2024-05-20T09:43:12","date_gmt":"2024-05-20T07:43:12","guid":{"rendered":"https:\/\/libriaparte.it\/en\/?post_type=product&p=26586"},"modified":"2026-02-12T08:56:26","modified_gmt":"2026-02-12T07:56:26","slug":"contenuti-e-metodi","status":"publish","type":"product","link":"https:\/\/libriaparte.it\/en\/prodotto\/contenuti-e-metodi\/","title":{"rendered":"Content and Methods for the Promotion of Puppet Theatre"},"content":{"rendered":"

Index code <\/b>LA37<\/p>\n

Release <\/b>May 2024<\/p>\n

ISBN<\/strong> 978-88-95059-53-2<\/p>\n

Features<\/strong> Soft cover, 17×24 cm<\/p>\n

Pages<\/strong> 104<\/p>\n

Images<\/strong> 20 color<\/p>\n

Language: <\/b>Italian<\/p>\n

Texts by<\/strong>\u00a0Chiara Bettinelli, Elisabetta Boschini e Sophie Hames, Sara Cavalleri, Alfonso Cipolla, Daniele Cortesi e Mariateresa Zanoni, Cristina Loglio, Lucia Miazzo, Fabrizio Montecchi, Roberta Navoni, Daniela Obiso, Alessio Palmieri Marinoni, Paolo Parmeggiani, Sergio Ravasio, Cristina Rodeschini, Federico Romani, Annalisa Rossi<\/p>\n

Curated by<\/strong> Cristina Loglio<\/p>\n","protected":false},"excerpt":{"rendered":"

This publication traces the steps and reflections that enabled the Benedetto Ravasio Foundation to create the Puppet Museum in Bergamo and develop the activities of the Miriam Ravasio Study Center for Puppet Theatre.<\/p>\n

The selection of content and the working method adopted during the years of preparation and implementation (Chiara Bettinelli) are evaluated in comparison with existing museums (Alfonso Cipolla), also considering the international context, often interdisciplinary in nature, encompassing theatre, literature, and cinema (Paolo Parmiggiani).<\/p>\n

The focus is on the testimonies of the family (Sergio Ravasio) that for thirty years has safeguarded, collected, and supported the development of Puppet Theatre, becoming a nucleus and catalyst for memory and rediscovery of the role of Puppet Theatre in the social and cultural fabric of the community in Bergamo, in strong connection with other regional and national traditions.<\/p>\n

Those who continue the tradition today (Daniele Cortesi) explain its significance, while related fields unfold, thanks to the Study Center (Alessio Palmieri Marinoni): issues of restoration (Lucia Miazzo), photographic specificity (Sara Cavalleri), pedagogical and clinical use (Roberta Navoni, Sophie Hames, Elisabetta Boschini), and experimental collaboration with museums (Cristina Rodeschini).<\/p>\n

The preface (Annalisa Rossi) defines archival preservation of the heritage as the first act of enhancing the cultural project.<\/p>\nRead More<\/a>","protected":false},"featured_media":26656,"template":"","meta":{"_acf_changed":false},"product_brand":[],"product_cat":[82],"product_tag":[229],"class_list":["post-26586","product","type-product","status-publish","has-post-thumbnail","product_cat-libri-aparte","product_tag-burattini","col-md-4 col-sm-6","first","instock","shipping-taxable","purchasable","product-type-simple"],"acf":[],"yoast_head":"\nContent and Methods for the Promotion of Puppet Theatre<\/title>\n<meta name=\"description\" content=\"(2024) %%sep%% This publication traces the steps and reflections that enabled the Benedetto Ravasio Foundation to create the Puppet Museum in Bergamo and develop the activities of the Miriam Ravasio Study Center for Puppet Theatre. The selection of content and the working method adopted during the years of preparation and implementation (Chiara Bettinelli) are evaluated in comparison with existing museums (Alfonso Cipolla), also considering the international context, often interdisciplinary in nature, encompassing theatre, literature, and cinema (Paolo Parmiggiani). The focus is on the testimonies of the family (Sergio Ravasio) that for thirty years has safeguarded, collected, and supported the development of Puppet Theatre, becoming a nucleus and catalyst for memory and rediscovery of the role of Puppet Theatre in the social and cultural fabric of the community in Bergamo, in strong connection with other regional and national traditions. Those who continue the tradition today (Daniele Cortesi) explain its significance, while related fields unfold, thanks to the Study Center (Alessio Palmieri Marinoni): issues of restoration (Lucia Miazzo), photographic specificity (Sara Cavalleri), pedagogical and clinical use (Roberta Navoni, Sophie Hames, Elisabetta Boschini), and experimental collaboration with museums (Cristina Rodeschini). The preface (Annalisa Rossi) defines archival preservation of the heritage as the first act of enhancing the cultural project.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/libriaparte.it\/en\/prodotto\/contenuti-e-metodi\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:locale:alternate\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Content and Methods for the Promotion of Puppet Theatre\" \/>\n<meta property=\"og:description\" content=\"Fratellino e Sorellina - Fiaba dei fratelli Grimm Voltata in versi da Ambrogio Previtali, con 14 tavole a colori di Diego Bonifaccio. La fiaba Fratellino e Sorellina dei fratelli Grimm ha avuto molte interpretazioni figurative. Tra le pi\u00f9 note, in un rimbalzo di poli contrapposti, troviamo quelle di Arthur Rackham e di Ivan J. Bilibin. Qui la fiaba prende la forma di una ballata tradotta in rima e in una veste lussuosa con delle splendide e fiammanti tavole a colori che raccolgono l\u2019insegnamento formulato da Vladimir J. Propp e la considerazione che se una fiaba \u00e8 una parabola con un lieto fine, adatta a conciliare il sonno di un bambino, \u00e8 tuttavia sempre originata da fatti e prove crudeli. Cos\u00ec, se non ci lasciamo distrarre dall\u2019andamento canzonato della storia e non ci fermiamo ad ammirare i colori, gli ori e gli argenti delle figure, scopriremo che qui si racconta di riti di passaggio e di iniziazione, che tutti, senza streghe o incantesimi crudeli, hanno incontrato durante la propria infanzia.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/libriaparte.it\/en\/prodotto\/contenuti-e-metodi\/\" \/>\n<meta property=\"og:site_name\" content=\"Libri Aparte\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/libriaparte\" \/>\n<meta property=\"article:modified_time\" content=\"2026-02-12T07:56:26+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/libriaparte.it\/wp-content\/uploads\/2024\/05\/contenuti-e-metodi-01c.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1300\" \/>\n\t<meta property=\"og:image:height\" content=\"1300\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"Content and Methods for the Promotion of Puppet Theatre\" \/>\n<meta name=\"twitter:description\" content=\"Fratellino e Sorellina - Fiaba dei fratelli Grimm Voltata in versi da Ambrogio Previtali, con 14 tavole a colori di Diego Bonifaccio. La fiaba Fratellino e Sorellina dei fratelli Grimm ha avuto molte interpretazioni figurative. Tra le pi\u00f9 note, in un rimbalzo di poli contrapposti, troviamo quelle di Arthur Rackham e di Ivan J. Bilibin. Qui la fiaba prende la forma di una ballata tradotta in rima e in una veste lussuosa con delle splendide e fiammanti tavole a colori che raccolgono l\u2019insegnamento formulato da Vladimir J. Propp e la considerazione che se una fiaba \u00e8 una parabola con un lieto fine, adatta a conciliare il sonno di un bambino, \u00e8 tuttavia sempre originata da fatti e prove crudeli. Cos\u00ec, se non ci lasciamo distrarre dall\u2019andamento canzonato della storia e non ci fermiamo ad ammirare i colori, gli ori e gli argenti delle figure, scopriremo che qui si racconta di riti di passaggio e di iniziazione, che tutti, senza streghe o incantesimi crudeli, hanno incontrato durante la propria infanzia.\" \/>\n<meta name=\"twitter:image\" content=\"https:\/\/libriaparte.it\/wp-content\/uploads\/2024\/05\/contenuti-e-metodi-01c.jpg\" \/>\n<meta name=\"twitter:label1\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"1 minute\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/libriaparte.it\\\/en\\\/prodotto\\\/contenuti-e-metodi\\\/\",\"url\":\"https:\\\/\\\/libriaparte.it\\\/en\\\/prodotto\\\/contenuti-e-metodi\\\/\",\"name\":\"Content and Methods for the Promotion of Puppet Theatre\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/libriaparte.it\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/libriaparte.it\\\/en\\\/prodotto\\\/contenuti-e-metodi\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/libriaparte.it\\\/en\\\/prodotto\\\/contenuti-e-metodi\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/libriaparte.it\\\/wp-content\\\/uploads\\\/2024\\\/05\\\/contenuti-e-metodi-01.jpg\",\"datePublished\":\"2024-05-20T07:43:12+00:00\",\"dateModified\":\"2026-02-12T07:56:26+00:00\",\"description\":\"(2024) - This publication traces the steps and reflections that enabled the Benedetto Ravasio Foundation to create the Puppet Museum in Bergamo and develop the activities of the Miriam Ravasio Study Center for Puppet Theatre. 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Those who continue the tradition today (Daniele Cortesi) explain its significance, while related fields unfold, thanks to the Study Center (Alessio Palmieri Marinoni): issues of restoration (Lucia Miazzo), photographic specificity (Sara Cavalleri), pedagogical and clinical use (Roberta Navoni, Sophie Hames, Elisabetta Boschini), and experimental collaboration with museums (Cristina Rodeschini). 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Those who continue the tradition today (Daniele Cortesi) explain its significance, while related fields unfold, thanks to the Study Center (Alessio Palmieri Marinoni): issues of restoration (Lucia Miazzo), photographic specificity (Sara Cavalleri), pedagogical and clinical use (Roberta Navoni, Sophie Hames, Elisabetta Boschini), and experimental collaboration with museums (Cristina Rodeschini). 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