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  • 1
    UID:
    gbv_1832356973
    Format: 1 Online-Ressource (17 p.)
    ISBN: 9788855181501
    Series Statement: Studi e saggi
    Content: This essay provides a comparison of select testimonies of the enduring tradition of Convitato di pietra (The Stone Guest) in Central and Southern Italy from the late 17th to the early 19th century. The text by Perrucci, the scenario from the Casamarciano collection, the anonymous revision located in the Italian Castle Archive at the Beinecke Library at Yale, and Abri's opera tragica (which relies significantly on Perrucci's setting) testify to the longevity of this plot - as well as of the Spanish repertoire - on the stage, in spite of notable changes, which reveal dramatic transformations in taste and sensitivity on the part of theatre practitioners and the audience
    Note: Italian
    Language: Undetermined
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  • 2
    Online Resource
    Online Resource
    Florence : Firenze University Press
    UID:
    gbv_1832369773
    Format: 1 Online-Ressource (16 p.)
    ISBN: 9788855181501
    Series Statement: Studi e saggi
    Content: This contribution aims to offer a study of the Italian adaptation of the Calderonian comedy Amor honor y poder by Angiola D'Orsi, in which the mechanisms that have allowed the recreation of the semantics of comedy, complex and strongly rooted in the stereotyped formulas of every literary tradition, are highlighted. Art comedian, dramatist, translator and highly experienced actor-manager (capocomico), Angiola D'Orsi shows her ability to acclimate the Spanish opera to the new context of reception, through an operation of mediation and interpretation of the two ideological and dramatic systems. Through the comparative analysis of the figures carrying comedy, characterized by linguistic and character stereotypes, we examine the ways in which their dramatic and cultural redefinition is carried out, closely linked to Italian theatrical practice and in accordance with the traditional mask of Zanni
    Note: Spanish
    Language: Undetermined
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  • 3
    Online Resource
    Online Resource
    Florence : Firenze University Press
    UID:
    gbv_183230292X
    Format: 1 Online-Ressource (11 p.)
    ISBN: 9788855181501
    Series Statement: Studi e saggi
    Content: undefined
    Note: Italian
    Language: Undetermined
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  • 4
    UID:
    gbv_1832312712
    Format: 1 Online-Ressource (18 p.)
    ISBN: 9788855181501
    Series Statement: Studi e saggi
    Content: It is well known that in France the Spanish comedy is not considered a model to be imitated, yet, reading the peritexts (dédicace, avis au lecteur, épître) of the 17th Century French adapters and comparing the imitations with the sources, we can see attitudes that are not always connected to preconceived ideas about the superiority of génie français, both in the consideration that the playwrights reveal towards contemporary Spanish plays, and in their way of adapting them. After outlining the duration and extent of the phenomenon of the seventeenth-century comédie à l'espagnole, the study analyzes the pièces and the peritexts, following two paths: the first investigates the real knowledge and opinion that the French dramatists had of Spanish dramaturgy; the second reconstructs and analyzes the translation methods that, in their forewords, the adapters claim they want to use to make Spanish theatrical texts usable in France, and which they often disregard in their pièces
    Note: Italian
    Language: Undetermined
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  • 5
    UID:
    gbv_1832302512
    Format: 1 Online-Ressource (14 p.)
    ISBN: 9788855181501
    Series Statement: Studi e saggi
    Content: This paper highlights archival evidence and dramaturgic mythemes in order to reconsider the historiographical issues related to the XVIIth-century theatrical reception of El burlador de Sevilla y convidado de piedra outside of Spain. Among the crossroads of theatrical practices alive in XVIIth-century Naples, Don Juan underwent a rapid process of assimilation and transformation. The chronology of its Neapolitan debut at the Teatro di San Bartolomeo is re-examined in this paper, while unfolding some new and possible scenarios interweaving history and dramaturgy, the stage and the historical political events of the Kingdom of Naples during the first decades of the XVIIth century. This study examines the Mediterranean basis consolidating the myth of Don Juan - the character with «feet made of wind» (Garboli) - and defining its dramaturgic status all around Europe
    Note: Italian
    Language: Undetermined
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  • 6
    Online Resource
    Online Resource
    Florence : Firenze University Press
    UID:
    gbv_1832309851
    Format: 1 Online-Ressource (18 p.)
    ISBN: 9788855181501
    Series Statement: Studi e saggi
    Content: In 1664 Molière and his troupe played in the gardens of Versailles, in front of the Sun King, La Princesse d'Elide a rewriting of the Desdén con el Desdén by Moreto. As Maria Grazia Profeti pointed out in her writings, Genette's analysis still allows, after some time from the critical works of the critic, to avoid the ever-present and threatening obstacles of moral, formal or aesthetic value judgements accompanied by the more or less declared idea of superiority or inferiority of an author or a culture and dramaturgy. Entering the Molierian laboratory, after having highlighted how much the French hypertext owes to its Spanish hypotext, the essay tries to recontextualize the pièce within the Royal Festivals of the Plaisirs de île enchantée also in the light of the reception of contemporaries: wearing virtually the spectacles of a spectator of the time, and taking into consideration the transvalorizations carried out by the French playwright, he also tries to grasp the meaning that the Molierian play may have assumed for the Sovereign and the public in the context of the political and sentimental biography of the King of France at that chronological height
    Note: Italian
    Language: Undetermined
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  • 7
    UID:
    gbv_1832315495
    Format: 1 Online-Ressource (19 p.)
    ISBN: 9788855181501
    Series Statement: Studi e saggi
    Content: In the preface to the edition of La malia della voce, Carlo Gozzi declares that the only source of his text is Lo que puede la aprehensión by Agustín Moreto, refusing any filiation with La charme de la voix by Thomas Corneille, a French adaptation of the same Spanish comedy, a statement that is astonishing if we take into account even the title of the Italian version, a literal translation of that from across the Alps. This essay studies the relationships between the three works in search of coincidences and divergences, textual and structural, which allow us to establish the real genetic relationship between the Italian text and the Spanish and French previous versions
    Note: Italian
    Language: Undetermined
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  • 8
    UID:
    gbv_1832315657
    Format: 1 Online-Ressource (25 p.)
    ISBN: 9788855181501
    Series Statement: Studi e saggi
    Content: The subject of aprince dressing as a gardener to approach his beloved is dear to the European theatrical tradition: the model of Don Duardos by Gil Vicente (1562), reprinted in El rincipe viñador by Luis Vélez de Guevara (1668), is also used in French theatre, which proposes a variation in Le Prince déguisé by Georges de Scudery (1636), partly based on the novel Grisel y Mirabella by Juan de Flores (1524). This subject was later integrated into 17th century Italian theatre, starting with Venetian opera. This essay analyses in particular some works produced in Venice in the middle of the century, starting with Il prencipe giardinieroby Benedetto Ferrari (1644), whose subject anticipates first L'Oristeo (1651) by Giovanni Faustini and Francesco Cavalli, and Laurindo by Gio. Andrea Moniglia, written in 1657 and printed as Il principe giardiniere under the name of Giacinto Andrea Cicognini starting from 1664
    Note: Italian
    Language: Undetermined
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  • 9
    Online Resource
    Online Resource
    Florence : Firenze University Press
    UID:
    gbv_1832368610
    Format: 1 Online-Ressource (21 p.)
    ISBN: 9788855181501
    Series Statement: Studi e saggi
    Content: This paper aims at studying the Italian fortune of the Calderonian play Con quien vengo vengo , firstly, by focusing on its first version by Michele della Marra (1665) and then moving on to a triple textual comparison between the Calderonian source-text, the rewriting of Della Marra and the second adaptation by the actress Angiola D'Orso, whose first edition came out in 1666. Despite his faithfullness to the plot of the original text, the first translator remodels the text either by summarizing it, or removing certain typically Calderonian rhetorical artifices, or replacing the figure of the gracioso by that of the southern servant, who uses the dialect. On the contrary, Angiola D'Orso shows greater respect for the Spanish play, displaying more sensitiveness toward its rethorical beauty, which she is able to reproduce successfully
    Note: Italian
    Language: Undetermined
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  • 10
    UID:
    gbv_1832367614
    Format: 1 Online-Ressource (19 p.)
    ISBN: 9788855181501
    Series Statement: Studi e saggi
    Content: In order to highlight the intertextual game that Giacinto Andrea Cicognini creates in it L'amorose furie d'Orlando with Angélica en el Catay by Lope de Vega, a hypothesis vented but not demonstrated by Gobbi in an ancient critical essay, it is necessary to read and reread the two comedies without losing sight of the octaves of Ariosto with a meticulousness that, until now, no one had believed necessary to put in place, perhaps because in both cases we are not faced with absolute masterpieces. In any case, if it is true that certain images and phrases can fall into the category of literary interdiscursiveness, which goes beyond the two plays analyzed, the fact remains that the numerous similarities identified cannot be the result of chance
    Note: Italian
    Language: Undetermined
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