This dissertation involved reconstructing Vivaldi's Armida al campo d'Egitto. Since the music for Act II was missing, substitute music was found in other Vivaldi operas and used for the surviving ...aria texts from Armida. In addition, new recitative was composed for Act II. Included in the paper is a summary of Vivaldi's career as an opera composer as well as information on opera seria. Furthermore, the dissertation includes a description of the reconstructive process as well as the translated libretto and completed score of Armida.
Multilingualism has been a critical issue for centuries, since the presence of multiple languages within a single community of speakers represents a challenge to traditional notions of national ...identity to the extent that sub-national linguistic groups undermine the idea of "one language for one nation" (Meylaerts 227). In Translation Studies, however, multilingualism has received attention recently, since translation scholars began to realize that the treatment of different varieties of a language might represent an (im)balance of power among the language varieties. This study compares the representation of dialect in original and translated novels in the Italian/English language pair in order to determine the general norms for treating multilingualism in translation and the political implications of those norms. In other words, is linguistic heterogeneity of the source texts (ST) homogenized in the target text by adopting the standard variety, or is this heterogeneity preserved, and if so, how? Moreover, this study analyzes whether the strategies adopted by translators vary depending on the time period and the socio-political context during which the novels and the translations were published. The hypotheses claim that the TTs would show fewer traces of dialect, and would display a more homogenized language. First, I hypothesize that the TT would have a limited ability to `give voice' to minority groups and in so doing to subvert the institutional imposition of a standard language and, at the same time, they reinforce the idea of a nation with the same unified language. Second, I hypothesize that the strategies adopted by the translators are influenced by the social and political context of the target culture in the attempt to meet the needs and expectations of the intended readership. The findings from the data analysis confirm the hypothesis regarding the existence of specific patterns governing the translation of dialect in novels when the Italian/English language combination is considered. In contrast, it does not seem that the second hypothesis is confirmed. The data analyzed in this project shows that the socio-political context of the target culture does not influence translators' strategies.
This document presents a written account and evaluation of my costume design process for Southern Illinois University Carbondale's production of The Green Bird. The first chapter contains a detailed ...analysis of the script. The second chapter discusses historical and contemporary research on the play, the playwright, and commedia dell'arte. Chapter three explores my design process and research. Chapter four is an over view of the design traveling thru the production process. The final chapter is a self evaluation. The appendix's contain research, essential paperwork, costume renderings for each character and production photographs.
This dissertation examines the theatrical performances of cloistered women in sixteenth- and seventeenth-century Venetian convents. It traces how the convent's dramatic tradition complemented and/or ...diverged from other religious and popular dramatic traditions at the time, and it challenges received histories that still overlook women's participation in early modern theatrical production. My discovery that nuns in one out of every two Venetian convents performed publicly, before audiences of men and women, religious and lay, significantly revises current understandings of class and gender relations as well as theatre conventions of the early modern period. By reading across a variety of sources including church and state archival records, printed plays and dedications, and popular literary and journalistic publications, this dissertation first substantiates the nuns' performance tradition from the angles of production and reception. It reconstructs the world of convent theatre from dramaturgical details gleaned from close analysis of local anti-theatrical measures and their subsequent violations, the logistics and gendered symbolism of a convent parlor mise-en-scene, the relationship between convents and the Venetian press, and printed plays bound for the Venetian cloister. In particular, this study investigates the nuns' intersection with professional playwrights Luigi Groto, Paolino Fiamma Crocifero, Iacomo Donati, Fabio Glissenti, Francesco Pona and Giacinto Andrea Cicognini, proving there to have been indelible links between the city's sacred and secular theatrical realms. It also tracks evidence of musical crossover through the influences of Venice's burgeoning operatic empire and the ospedale's oratorio tradition upon convent theatrics. Finally, this dissertation explores the figure of the Venetian nun-as-actress through the writings of Venetian nun Arcangela Tarabotti and playwright Carlo Goldoni, both of whom address the highly produced religious ceremonies during which the city witnessed the nun's performative transformation into a role she would play for the rest of her life. In short, this study argues that the life of a Venetian nun was far from truly cloistered and her theatrical and ceremonial offerings were entertainment products on the open Venetian market, making her representative of a new breed of early modern actor.
The purpose of this thesis is to document and analyze the scenic design process of Carlo Gozzi's The Green Bird as it was produced at the Clarice Smith Performing Arts Center at the University of ...Maryland in March of 2007. The role of the scenic designer is to physicalize the world of the play established by the vision of the director as well as the collaborative design team of the lighting, costume and sound designer. Chapter one of this thesis is an analysis of the script written by Carlo Gozzi, which was translated and adapted by Frederica Brunori Deigan and Leslie Felbain. This analysis covers a concise understanding of Commedia dell'Arte, which is the performance style of the piece, as well as Carlo Gozzi's theatrical views. Chapter two details the visual research process and manifestation of the phases of the scenic design in conjunction with the director, lighting and costume designer. Chapter three examines the selecting and approving of materials for the set and the construction and building process of the set design. Chapter four provides a critical analysis of the process of designing the set, the creation of the set, and an evaluation of the final production in light of the collaborative design process with the other designers and the director. Finally, the appendices provide visual documentation of the design process from research to realization of the final production.
This thesis explores the lives and works of Carlo Gozzi and Carlo Goldoni. Specific emphasis is placed on their feud, positions in society, the motivations behind their theatrical styles, and the ...ways they used theatre to either attempt to maintain the status quo (Gozzi) or strive for social change (Goldoni). Contrary to previous studies, this study suggests that Goldoni tried to influence the world around him, rather than merely reflect it. This study examines the above through the lens of several twentieth century theories including semiotics, structuralism, and the avante-garde. The contents of this work are essential to anyone seeking biographical information, doing dramaturgical research or producing one of their plays, and those investigating the ways theatre has been used to incite change and create an atmosphere of social equity. This work demonstrates that theatre can, has been, and should be actively used to influence that change.
Part 2, "The Renaissance," includes "The Renaissance Stage (31-38); "Erudite Comedy" (39-43); "Ariosto and Ferrara" (44-50); "Machiavelli and Florence" (51-57); "The Intronati and Sienese Comedy" ...(58-60); "Ruzante and the Veneto" (61-73); Aretino and Later Comic Playwrights" (74-83); "Tragedy" (84-90); "Pastoral Drama" (91-101); and "Commedia Dell'arte" (102-24). Part 6, "The Modern Age," includes "Actors, Authors and Directors" (269-77); "Innovation and Theatre of the Grotesque" (278-84); "The March of the Avante-garde" (285-92); "Luigi Pirandello" (293-311); "Italo Svevo, Dramatist" (312-22); "D'Annunzio's Theatre" (323-38); "Theatre Under Fascism" (339-48); "Pier Paolo Pasolini" (349-56); "Dario Fo" (357-67); "Contemporary Women's Theatre" (368-78); and "The Contemporary Scene" (379-93). Actors and Acting, Censorship, Costumes, Criticism, Curtains, Dance in Theatre, Directors and Directing, Dramatic Structure, Experimental Theatre, Festivals and Theatre, Folk Theatre, Makeup, Masks, Music and Musical Instruments, Playwrights and Playwriting, Politics in Theatre, Properties, Puppet Theatre, Religion in Theatre, Role Types, Scenography, Stages, Storytelling, Theatre Companies, Theatres, Theory, Training, Western Influence, Women in Asian Theatre, and Miscellaneous.
This dissertation analyzes the theatre practice of Angelo Beolco (aka Ruzzante) and the pedagogical strategies of the Society of Jesus (aka the Jesuits) in order to forward a theory of the Baroque as ...a space of critical tension produced by the clash of disciplinary regimes of governance and excessive artistic expressions. I read Venice through a sceno-historiographical lens and theorize it as a staging area from which acts of Baroque composition unfolded. With a dialectical and philosophical-historical methodology (derived from the work of Theodor W. Adorno, Walter Benjamin, and Michel Foucault), I assemble archival traces of Venetian theatre prior to the construction of permanent theatre buildings in order to contribute to the writing focused on sixteenth and seventeenth-century Venetian theatre, of which currently little exists. Theatre, then, appears in this dissertation as more than mere entertainment; it becomes an active political practice embedded within an epicenter of cultural production in early modern Europe.
In 1946, Anthony Buttitta and Lawrence Gellert collaborated on an opera libretto loosely based on Wagner’s Ring Cycle. Their folk opera, Diggin’ the Ring, borrowed the narrative structure of the Ring ...Cycle. Buttitta replaced Wagner’s characters with an allblack, mundane cast. Despite forty years of revisions and numerous unsuccessful attempts to produce the opera, Diggin’ the Ring remained unknown until it was found in the Buttitta collection in the Hollings Special Collections Library at the University of South Carolina. The purpose of this document is to provide a contextual analysis of this folk opera. It begins with a discussion of the parallels between Wagner’s opera and the Buttitta version. The practice of using African-American folk music and casts in musical theatre during the 1930s and 1940s further contextualizes the opera. The study concludes with an examination of the propaganda value of this work from the perspective of the American Left.
