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.
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.
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.
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).
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