Five comedies Goldoni, Carlo; De Michelis, Cesare
Five comedies,
2016, 20160407, 2017, 2016, 2016-01-01, 2016-05-09
eBook
Five Comedies collects a selection of Goldoni's finest plays, annotated and translated into English: The New House, The Coffee House, and "The Holiday Trilogy" (Off to the Country, Adventures in the ...Country, and Back from the Country.
Giorgio Strehler Directs Carlo Goldoni uses Giorgio Strehler’s Goldoni productions (and Arlecchino servitore di due padroni in particular) as a means to defining his directorial aesthetic. The book ...provides a framework for examining the director’s career that is expansive rather than restrictive, using Goldoni and Arlecchino servitore di due padroni as a through-line for Strehler’s fifty-year career at the Piccolo Teatro di Milano. This research defines Strehler’s multifaceted style and brings to light interrelationships among his various works, creating a base from which a variety of subsequent critical inquiries can be made. It also establishes Strehler’s identity within the larger scope of the Italian theatre as a whole. Finally, it creates the critical challenge of finding more expansive notions of directorial style and concept that unite diverse ideologies without delimiting our understanding of the director. Crucial to understanding Strehler’s work with Arlecchino servitore di due padroni is his consistent reinterpretation of the play, which received no less than five distinct productions during Strehler’s lengthy career. His repeated reworking of existing productions provides a baseline for examining what elements were maintained and what elements changed or evolved. The four key influences that defined Strehler’s aesthetic in his work with Arlecchino were commedia dell’Arte, Bertolt Brecht, “refractive theatricality” and Jacques Copeau. Through these productions, Strehler created a dialogue with his audience and helped change the reputation of Carlo Goldoni both in his own country and abroad.
Bertoldo, Bertoldino e Cacasenno was the first comic opera, which opened the Venetian era in the history of opera buffa. Contemporary dictionaries name Carlo Goldoni (text) and Vincenzo Legrenzio ...Ciampi (music) as its authors. The detailed review of the manuscript (preserved in the Estense Library in Modena) undertaken in the article for the first time, reveals the original “pasticcio” nature of this opera. An analysis of the handwriting and various markings shows that the score contains musical material representing two different productions of the opera: the Venice premiere in 1749 and a performance in London in 1755. Ciampi, who wrote about one third of all the musical numbers for the Venetian premiere of the opera in 1749, was apparently joined in his work by other composers. For the London production in 1755 Ciampi added a newly composed portion of musical numbers, however, still almost a quarter of the entire score remained consisting of insertions of music by other composers. The surviving music also makes it possible to establish exactly what material from the Venetian production was used in the parodies on this opera composed in Paris: Bertholde à la ville by Louis Anseaume (1754) and Le Caprice Amoureux, ou, Ninette à la cour by Charles-Simon Favart (1755). The study of Bertoldo, Bertoldino e Cacasenno expands our understanding of the practices of opera buffa at the early stage of its history.
Italian playwright Carlo Goldoni's stylized Mémoires were written in French during his Parisian exile (1762-93). This article traces the conjoined motifs of exile and of ageing that course through ...these memoirs, positing that at their confluence there emerges a subliminal voice determined to terminate his lifelong exilic self-identification. Resolving to end narrative exile permits the aged Je to relax within his Parisian adopted home, thus fending off the dreaded exile of aged solitude. In celebrating his old age through narration of his memoirs, Je ultimately embraces the physically reduced sphere and the private existence of an everyday, urban octogenarian.
Sculptural images of bound captives at the foot of a triumphant victor date back to antiquity, yet the portraitlike depictions of slaves in Pietro Tacca's Quattro Mori in Livorno (1622-26) were ...unique in transcending their iconographic roots to address contemporary social conditions in Tuscany's most important port. The development of the slave trade in Livorno and the contemporary construction of the Italian coast's most important bagno (slave prison) form the backdrop for Tacca's sympathetic and idiosyncratic treatment of these four Muslim captives.
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Venetian playwright and pioneer of modern theatre Carlo Goldoni (1707-1793) led a ‘double life’ as a librettist, authoring nearly as many libretti as comedies- libretti which, born from the same mind ...and the same hand that brought forth his famous, and famously controversial, overhaul of the practices of comic theatre, could not but push the limits of the standing tradition to open a new chapter in opera history. Goldoni became one of the first to give shape to the dramma giocoso per musica , an innovative, realistic, and enduring new genre with intimate connections to prose comedy that met with overwhelming international success, becoming the foundation for the works of future generations, including W. A. Mozart and his Italian librettist Lorenzo da Ponte. Perhaps because of his stature and influence as a comic playwright, Goldoni has rarely been considered as an innovator in the musical sphere. This study aims to shed new light on his primary role in the evolution of Classical opera, and on the legacy of his innovations in the European musical tradition.
Joseph Laudes is an example of an eighteenth-century translator for the two Vienna court stages who had to work under a number of constraints: he had to adapt to a particular theory of theatre, to ...the demands of certain managers and authorities, as well as to the needs of the audience. The theatre reform that was being implemented in the period of Laudes’ activities as a translator demanded prose instead of verse drama. Moreover, this reform favoured sentimental comedies aimed at affecting the sentiments of the audience and teaching them morally correct behaviour. Besides poetological and ideological constraints, the dramatic texts were directed at a public composed of the aristocracy and a growing number of members of the bourgeoisie. Since he had to work under intense time pressure, which affected the quality of his texts, many of the characteristics of his work correspond with those of prose translations of the era, published by what critics denounced as ‘translation factories’. Laudes’ translation work is exemplified by his rendering of Goldoni's
Pamela maritata.
Partendo dall’analisi del Mondo alla roversa di Carlo Goldoni, allestito nel 1759 a Mosca dalla compagnia di Giovanni Battista Locatelli, il saggio si propone di ricostruire la circolazione e i ...canali di diffusione delle opere giocose italiane nell’Europa del Settecento. L’analisi delle modifiche introdotte nel libretto nel processo del transfer culturale rivela inoltre le ragioni che hanno spinto l’impresario ad accogliere determinate opere nel proprio repertorio e sulla risemantizzazione a cui esse sono state soggette in un diverso contesto politico-istituzionale. In una prospettiva più ampia, il saggio analizza le pratiche compositive delle compagnie italiane al di fuori dell’Italia, nonché il sistema produttivo dello spettacolo operistico nell’Europa centro-settentrionale e in Russia.
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