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.
Commedia all'italiana, a genre of Italian film satires that emerged in the late 1950s and sustained through the late 1970s, is primarily understood through its close relationship to Italian culture. ...The evolution of the genre appears to be less tied to the revision of iconography and narrative codes of previous films than it is to the trajectory of Italian society during its years of prominence. The following thesis will attempt to find a definition of commedia all'italiana that is discrete from the genre's strong link to Italian culture by isolating the films' common narrative strategies. The aim in constructing this definition, which will be called the " commedia all'italiana narrative methodology," is to negotiate the possibility of formal elaboration upon the genre by a modern filmmaker, even outside of the strictly Italian context of the films in question. The viability of this endeavor will be put to the test in the final chapter, a plot outline for a feature film, entitled Commedia Vasca, that emulates the narrative approaches assembled in the commedia all'italiana narrative methodology. This thesis begins by presenting the common understanding of commedia all'italiana, with a particular focus on the genre's close connection to Italian society. The second chapter tracks the formation of the commedia all'italiana narrative methodology by isolating and analyzing distinct and adaptable narrative strategies at play among the films of commedia all'italiana. Then the thesis changes course to set up the creative experiment in narrative adaptation, Commedia Vasca, which will engage with Basque culture, rather than Italian. The plot outline for the film is preceded by a short summary of relevant Basque history and the ways the cultural specificities of the Basque Country influenced the process of utilizing and adapting the commedia all'italiana narrative methodology.
This thesis documents my journey as an actor of faith, and an MFA candidate, through the development and production of the role of Beatrice Rasponi in an adaptation by Dr. Michael Kirkland of Carlo ...Goldoni’s The Servant of Two Masters at Regent University. The introduction offers a brief summary of perceived challenges I expect to face and ideas to overcome them. Chapter One consists of my historical research of the playwright, play, time period, and my character. Chapter Two includes my textual analysis of the play, including plot structure, controlling and counter ideas, and spine phrases for all major characters. Chapter Three contains an in depth character analysis of Beatrice Rasponi, including an imagined backstory, moment to moment beat work, and physical techniques I plan on utilizing to bring the character to life. Chapter Four includes a rehearsal and performance journal documenting my progress along the way. Chapter Five is my conclusion, and contains discoveries and breakthroughs, response to criticism, advice for other actors, and a reflection on faith and acting. The Appendices contain our rehearsal schedule, production photos, the playbill, and my free associative writing.
This thesis is a documentation of my MFA Acting thesis process through the development and production of the role of Truffaldino in Carlo Goldoni’s The Servant of Two Masters at Regent University. ...The introduction offers a summary of perceived challenges I expect to face during this rehearsal process and ideas to overcome them. Chapter One consists of my historical research of the play, the genre of Commedia Dell'arte, and interviews discussing The Servant of Two Masters with a critical lens. Chapter Two includes my textual analysis of the play, including plot structure, controlling and counter ideas, and spine phrases for all major characters. Chapter Three contains an in-depth character analysis of Truffaldino, including an imaginative free-written backstory, example beats in the script using practical aesthetics according to the structure in A Practical Handbook for The Actor, and perceived physical and vocal challenges associated with the role. Chapter Four includes a personal journal written during my rehearsal and performance process for this production. Chapter Five is a conclusion to my thesis which includes personal insights and discoveries made along my process, the evolution of my beat work explored in chapter three, personal reactions to criticism of my work, things I would change if I could play the role of Truffaldino again, and parting words of advice for other actors taking on the role in the future. The appendices include production photos, two production playbills (One for the Servant of Two Masters, the other for an original Commedia Scenario entitled The School for Sausage ), and select free associative writing as the character Truffaldino.
This thesis is a review of what I’ve learned as a student during my three years in the program for Master of Fine Arts in Acting at Regent University. I am basing my description below on the material ...learned in classes such as methods of acting, text analysis, and voice and movement techniques. In this thesis, I’ll explain the different techniques I have used to develop my role (Brighella) in the play The Servant of Two Masters . I will also elaborate on various subjects, each one of which is used as the base and the foundation for developing my role in the play. These subjects are included in the segments of my thesis as follows; in the introduction I briefly elaborate on some of the obstacles I encountered in preparation for my role. In Chapter 1 I will talk about my research on historical biography of the playwright and the play as well as my review on the play’s genre and its specific acting style on the stage. Chapter 2 will discuss a textual analysis of the play, its plot structure, and its counter and controlling ideas. Moreover, the spine phrases for all major characters in the play are included in this chapter. Chapter 3 consists of elaborations on character analysis, which takes us to a journey starting from the back-story, then to working with beats, and finally ending with discussions on how I implemented for my role the techniques of acting and body movements which I learned during my years at Regent University. Chapter 4 serves as a journal for rehearsals and performances of the play. This is where I will include the details of how I will apply what I learned through my research about the character to my act. Chapter 5 summarizes briefly all the previous chapters together with elaborations on how I took advantage of the guidance I received from my professors in playing my role. The appendix contains our rehearsal schedule, production photos, and the playbill.
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