El siglo XVIII fue testigo de la significativa presencia y recepción que exhibieron dos autores claves en el campo teatral, Metastasio y Goldoni, cuyas obras gozaron de gran popularidad en los ...escenarios españoles. En torno a estos dos dramaturgos se concitó una intensa labor traductora que fue configurando un notable repertorio de piezas –traducidas, adaptadas y arregladas– del que se nutrieron el drama musical y el teatro cómico en España. Significativa fue la aportación del caudal de textos teatrales italianos para la formación de un renovado repertorio en las carteleras españolas, amoldados a los gustos del público y a múltiples subgéneros dramáticos. En el estudio se abordan el horizonte de la recepción del drama italiano y algunos itinerarios por los que transitaron las versiones españolas, procedentes en especial de ambos autores, a partir de mediados de los años 30 del siglo, cuando el drama metastasiano ingresa en la península. Una parcela relevante de estas versiones en español evidencia modalidades y trayectos complejos y sinuosos en su proceso de adaptación, al tiempo que exhiben diversos niveles de interconexión y de interdependencia, directa e indirecta, tanto entre sí como respecto al texto original italiano del que han bebido.
The paper deals with issues related to translation of texts for theatre in the light of the performative and cultural turn in the modern Humanities. While Cultural Studies scholars have abandoned the ...categories of directness in text translation in favour of analyzing cultural differences and contexts, they have neglected issues connected with language performativity, especially with regard to the dual function of the dramatic text - as literature and as theatre. Following the steps taken by William Worthen, the paper shows the historic dimension of the concept of a theatre play as literature (poetry) and as performance and proves that we have to look at the language of translation from the performative angle (contrasting "performativity" with "performability" as understood by Susan Bassnett), not only in a broad cultural and social context. What has to be taken into account are the circumstances of the practice of reading and understating a play, its form as well as the cognitive frames of both the performance creators and the spectators. The argumentation is illustrated by a comparative analysis of two modern Polish translations of Comedic Theatre by Carlo Goldoni, accomplished by Jolanta Dygul and by the author of the paper herself.
As artists, what do we seek? I came to UC San Diego’s MFA Directing program to “bring out a depth in my process that would help me create a better theatrical experience of revelation, empathy, and ...contemplation, and find my own signature form.” In preparation to direct my thesis production of Carlo Goldoni’s The Venetian Twins, I embarked on an intense training in the artform of mask performance in New York, Italy, and San Diego. Theater is a living and breathing event that is the intersection between several art forms in one moment in time. I discovered that the use of form must stem from a detailed concept rooted in the larger question with which the artist is wrestling.
Le théâtre du XVIIIe siècle s’affranchit lentement d’une pratique de cour, trouvant une place toujours plus grande à Paris et en province. Dès lors, le public s’accroît tout comme son intérêt pour le ...fait théâtral. Témoignage éloquent de cette « théâtromanie », les écrits portant sur le monde de la scène connaissent un essor inédit auquel participent les Mémoires des hommes et des femmes de théâtre, corpus à peu près ignoré par la critique littéraire. Les commentaires métadiscursifs (les discours qui traitent du discours) des Mémoires permettent d’éclairer au moins deux intentions communes à tous leurs auteurs : celle de défendre la réputation du théâtre, encore chargée d’opprobre au XVIIIe siècle, et celle d’asseoir la mémoire de ces personnages promis à l’oubli en raison de l’éphémérité attachée au théâtre (Chapitre I). S’ils n’entrent plus en dialogue avec l’Histoire comme c’était le cas aux XVIe et XVIIe siècles, les mémorialistes du corpus doivent en revanche disposer d’un certain capital social. Tous les Mémoires des praticiens du théâtre font montre de leur ascendance modeste et d’une émancipation sociale que la scène leur a permise (Chapitre II). La valorisation de l’interprétation théâtrale se déploie aussi à partir de sa théorisation, qui se détache de l’actio rhétorique. À l’aune d’un théâtre qui cherche un maximum d’effet de vérité, notamment en demandant aux acteurs de réinvestir leurs propres sentiments dans ceux de leurs personnages, il semble que les Mémoires soient un lieu d’exploration privilégié afin de penser la pratique du théâtre, puisqu’ils mêlent les considérations personnelles et théoriques (Chapitre III). Les Mémoires des hommes et des femmes de théâtre sont pour le moins nombreux, ce qui signale l’importance du corpus dans le paysage médiatique de l’époque, de même que la pertinence de cette étude. Cette dernière se penche essentiellement sur cinq acteurs (Clairon, Dazincourt, Dumesnil, Lekain et Préville), deux dramaturges influents (Goldoni et Marmontel) et un directeur de théâtre (Monnet).
This dissertation provides a chronological account of the representation of the melancholic-hypochondriac in Carlo Goldoni's comedic works up to his definitive departure for France in 1762 with an ...emphasis on the status of the figure as a patient. By gradually integrating diverse etiologies of the disease into the backstories of his characters, Goldoni transforms the traditional figure from a static character-type deserving of derision into an individual worthy of empathy and social reintegration. As the etiologies evolve, so too do the therapeutic responses warranted. In Goldoni’s hands, the delusions from which the hypochondriac suffers become fertile ground for a reflection on the therapeutic or “corrective” value of theater, in which the distinction between “honest” and “dishonest” simulation is explored, as doctors and patients become actors, and invalids learn to heal themselves through the mirror of theatrical performances. Attention is paid to points of contact between Goldoni's representations and selected medical texts of the period, primarily from the Italian tradition. Starting with Bartoli, who employs theatrical terms to describe the malady, Chapter 1 considers the figure of the imaginary invalid and hypochondriac within the context of understudied early intermezzi and drammi giocosi, genres that formed an Italian theatrical background out of which the invalid emerged in later Goldonian comedies. Chapter 2 examines first the earliest example of hypochondria in Goldoni's corpus, his intermezzo, L'ippocondriaco (1735), after which the figure temporarily disappears and is replaced with melancholics in the following comedies: La vedova scaltra (1748), La Pamela fanciulla (1750), L'erede fortunata (1750) and Il padre di famiglia (1751). These works illustrate the diverse collection of etiologies of melancholy used by Goldoni. Lastly, the chapter attends to performative aspects of the representation of the malady seen in La finta ammalata (1751) where the question of feigned illness reemerges in conjunction with the notion of “honest” simulation. Chapter 3 focuses on two distinct versions of the melancholic genius in works devoted to literary figures: Il Molière (1751) and Torquato Tasso (1755). Along with Il vecchio bizzarro (1754) these plays present a rehabilitated melancholic-hypochondriac worthy of sympathy and admiration. Chapter 4 features Goldoni's final comedies before his departure to Paris, in which one finds the last fully developed examples of melancholy and hypochondria in his Italian works. In Il medico olandese (1756), the reintegration of the patient is feasible through companionship and a kind of self-reflexive talk therapy. Goldoni explores the melancholic mania that arises from an obsession with fashion among the Venetian bourgeoisie in the Trilogia della villeggiatura (1761). With Una delle ultime sere di carnovale (1762) Goldoni bids farewell to Venice and returns to an example of the female hypochondriac who closely resembles the early imaginary invalids from musical theater.
This thesis aims to establish two connections. The first one is that the drawing with the intention of creating stage costumes, namely as a preparation for the future work of producing the costumes, ...is a work of art itself, and this fact is the reason of the importance of this kind of drawing. The second one is the link between the phenomenon of the fashion costume and the clothes used on the stage, or, as we say today, the scene costumes. This binding is made in both directions, i.e., how the fashion, considered to be the clothing referred to specific time and place, can influence the creation of stage costumes, since this helps to compose the character in a way comprehensible by the public; and, in the opposing sense, the stage costume, which creates certain archetypes that become a reference in the imagination of the public. This resulted in the option to pay special attention to the Commedia dell´Arte, where the importance given to the clothes in establishing certain characters (Arlechino, Pantalone, Columbine), made them easily identified by the public, even to those with little knowledge of the Commedia, as well, in other way, the dissemination of some local or special fashion by other places, since some characters (i. e. the Innamorati) reflected the wear of high class of the epoch, and they had to be understood as this.
The present article discusses the presence of music in the theaters of Madrid during the second half of the Eighteenth Century. We presuppose that music was used in theatrical performances, in ...sainetes (and other pieces of interstitial theater) or in comedies, as ornamentation or as the main part of the work. Our aim is to study the global outlook of the theater and the role that music had in it and to understand how important it is and its role in the dramatic work and in the theater sessions. In this case, thanks to the analysis of billboard, to the extant materials of the Biblioteca Histórica de Madrid and to the Diario de Madrid, it has been possible to draft a first general approximation of the real and temporal presence of certain dramatical-musical genres and the use of music in the declaimed genres. Our study shows that there is no clear difference between the use of music in different dramatical typologies.
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.
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