In questo articolo Giovanna Di Pietro ci presenta lo studio di Robin Summa, situato nel centro storico di Napoli. Figlio di Pierangelo Summa, figura emblematica del teatro italiano, Robin perpetua l’arte della realizzazione delle maschere della commedia dell’arte. Il giornalista racconta poi come, nell'arte della famiglia Summa, la creazione di maschere in pelle sia un vero e proprio strumento di emancipazione, che coniuga tradizione, impegno politico ed espressione personale

In this article, published by Collège du Mont Notre-Dame, the author recounts the visit of Robin Summa, a French-Italian artist internationally renowned for his expertise in masked performance and Commedia dell'Arte. In November 2023, he visited the Collège to share his craft and experience.

This article, published by the media Il Tirreno on March 10, 2023, presents the exhibition I luoghi dell'anima, curated by Pasqualino Casaburi, which took place in Grosseto on March 10, 2023. Among the highlights of this exhibition is a flagship event: “We and our masks. The theater that reveals our fragilities”, a collaboration between Katrina Munthe, psychologist and researcher in human sciences, and Robin Summa, internationally renowned artist and specialist in commedia de

In this article, published on February 16, 2023, on the Zetaluiss website, journalist Giorgia Verna explores the connection between carnival and commedia dell’arte through the reflections of artist Robin Summa. She begins by retracing the history of commedia dell’arte, which originated in 16th-century Italy in the context of traditional carnivals. She then focuses on the iconic masks of this theatrical tradition, such as Pulcinella, Arlecchino, Il Dottore, Colombina, and Brig

nterview posted on January 4th 2023 by Giorgia Verna for Il Mattino, Robin Summa is asked about his career and accomplishments. He discusses his film appearance in his sister's movie Arthur & Diana. He explains the continuity between his two books, which focus on the figure of the mask in theater. The first focuses on the historical dimension of the commedia dell'arte, while the second offers a more philosophical, psychological, and social reflection on the notion of the mask