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    Tytuł:
    Vittoria Piissimi zingara medicea: analisi di un’ “interpretazione”
    Vittoria Piissimi as a Gypsy: Analysing an “Interpretation”
    Autorzy:
    Liberto, Antonia
    Powiązania:
    https://bibliotekanauki.pl/articles/446435.pdf
    Data publikacji:
    2019-11-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    Gypsy
    Vittoria Piissimi
    Artemio Giancarli
    Gelosi
    commedia dell’arte
    Zingara
    Commedia dell’Arte
    Opis:
    This paper analyses Vittoria Piissimi’s best performance in La Zingara (The Gypsy), performed on the occasion of the Medici marriage of Grand Duke Ferdinando with Cristina di Lorena in Florence in 1589. Piissimi was an excellent artist of the 16 th century with a great talent for fascinating the audience. Examining records about gypsy tales and plays, this paper explores similarities and differences amongst Piissimi’s descriptions and interpretations of the gypsy.
    Vittoria Piissimi è stata un’attrice eccezionale del XVI secolo, avvezza sia alle parti serie che a quelle comiche e di servetta, che esercitò un grande fascino sul pubblico dell’epoca. È stato analizzato, in particolare, il suo cavallo di battaglia: La Zingana, che propose a Firenze nel 1589 con la Compagnia dei Gelosi in occasione delle nozze tra il Granduca Ferdinando De Medici e Cristina di Lorena. Prendendo in esame la sola testimonianza diretta sull’occasione, le informazioni in essa presenti sono state incrociate con fonti di varia natura: descrizioni della Piissimi, testi coevi (letterari e teatrali) e dipinti a tema zingaresco, che hanno potuto avere o ricevere un’influenza dalla versione della zingara “interpretata” dall’attrice.
    Źródło:
    Italica Wratislaviensia; 2019, 10.2; 51-64
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Diana, Aurelia e le altre: attrici e capocomiche dell’ultimo duca di Mantova
    Diana, Aurelia and the Others: Actresses and Leaders of the Last Duke of Mantua
    Autorzy:
    Zaccaria, Michela
    Powiązania:
    https://bibliotekanauki.pl/articles/446377.pdf
    Data publikacji:
    2019-11-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    actress
    commedia dell’arte
    Ferdinando Carlo Gonzaga-Nevers
    leader
    theatrical market
    attrice
    Commedia dell’Arte
    capocomica
    mercato teatrale
    Opis:
    This article introduces the activity of artistic directors Teresa Costantini, Angela Paghetti, and Colomba Coppa in the service of Ferdinando Carlo Gonzaga-Nevers, their generous patron and the last Duke of Mantua. Referencing studies that were initiated 30 years ago in the field of musicology and using recent historical research and archival sources, the essay highlights the artistic, organisational, and management responsibilities of commedia dell’arte directors. It reconstructs their relations with Ferdinando Carlo, ducal agents, and the Gonzaga court, while also focussing on their relations with Venetian Grimani impresarios, with whom the Duke of Mantua had established a lasting and generous collaboration. Performing women, prejudicially equated with prostitutes and beneficiaries of gifts and privileges, were depictions of love and glory for a discredited prince, whose array of artists was, however, amongst the most dense and dynamic in Italy. Actresses progressively moved away from the codes of courtliness and, as professionals registered and paid with money, they came to have strong bargaining power and levels of autonomy. However, they were subjected to rules and obligations, especially in Venice, where theatre owners made spaces available only to companies under the protection of the princes who were politically aligned with the Serenissima. During the years of the so-called Spanish succession war, Diana, Aurelia, and the others moved between Venice, Mantua, and Casale, where Ferdinando Carlo had moved after the blockade of Mantua, accompanied by a colourful procession of women, musicians, and commedia actors. Through theatrical misadventures mingled with military manoeuvres in Mantuan territory, and via changes of destination, programme, or repertoire, we read the story of a duchy that had lost its identity and of a rapidly changing theatrical market.
    Il contributo presenta l’attività delle capocomiche Teresa Costantini, Angela Paghetti, Colomba Coppa al servizio di Ferdinando Carlo Gonzaga-Nevers, ultimo duca di Mantova e generoso mecenate. Sulla linea di studi iniziati trenta anni fa sul versante musicologico e delle recenti ricerche storiche, il saggio, condotto su fonti d’archivio, mette in evidenza le responsabilità di ordine artistico, organizzativo e gestionale delle capocomiche della Commedia dell’Arte e ricostruisce da un lato i loro rapporti con Ferdinando Carlo, gli agenti ducali e la corte gonzaghesca; dall’altro con gli impresari veneziani Grimani, con i quali il duca di Mantova aveva stabilito una duratura e generosa collaborazione. Le donne di spettacolo, pregiudizialmente equiparate alle prostitute e beneficiarie di regali e di privilegi, erano raffigurazioni d’amore e di gloria per un principe screditato, la cui schiera di artisti fu però fra le più folte e dinamiche d’Italia. Le attrici si allontanarono progressivamente dai codici della cortigianeria e in qualità di professioniste scritturate e retribuite in denaro vantarono forte potere contrattuale e margini di autonomia; ma furono sottoposte a regole e obblighi soprattutto a Venezia, dove i proprietari dei teatri rendevano disponibili gli spazi solo alle compagnie sotto la protezione dei prìncipi politicamente allineati con la Serenissima. Durante gli anni della cosiddetta guerra di successione spagnola, Diana, Aurelia e le altre si mossero fra Venezia, Mantova e Casale, dove Ferdinando Carlo si era trasferito dopo il blocco di Mantova accompagnato da un variopinto corteggio di donne, musicisti e commedianti. Le disavventure teatrali si incrociarono con le manovre militari nel territorio mantovano e dietro i cambi di destinazione, di programma o di repertorio leggiamo in filigrana la storia di un ducato che aveva smarrito la propria identità e di un mercato teatrale in rapida trasformazione.
    Źródło:
    Italica Wratislaviensia; 2019, 10.2; 103-117
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    L’anti-cristiana. Sulle attrici professioniste della prima età moderna
    The Anti-Christian Woman. On Professional Actresses in the Early Modern Age
    Autorzy:
    Majorana, Bernadette
    Powiązania:
    https://bibliotekanauki.pl/articles/446514.pdf
    Data publikacji:
    2019-11-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    commedia dell’arte
    actresses
    amateur actors
    feminine models
    prostitute
    Commedia dell’Arte
    attrici
    attori dilettanti
    modelli femminili
    prostituta
    Opis:
    The profession of the commedia dell’arte actress acquires a markedly visible position in the broad public horizon of Modern-Age Italy. The actress, in that context, places herself both at the borders of the male amateur theatre practices and amongst the virtuous feminine models (nuns, wives, virgins), conflicting with both. These counter-positions must have been very visible, particularly to the spectators, who could easily draw comparisons both with the amateur shows, where only male actors played, and with different kinds of feminine characters. These contrasts are explored in this article using moral essays of the time, including the equivalence between actress and prostitute put forward by a lengthy treatise in 1646 by G.D. Ottonelli.
    Il mestiere di comica dell’Arte assume una posizione marcatamente visibile nell’orizzonte pubblico dell’Italia cattolica di età moderna, dove l’attrice si colloca tanto sui confini delle pratiche teatrali maschili edificanti dei dilettanti quanto su quelli dei modelli femminili virtuosi (monache, spose, vergini), confliggendo con gli uni e con gli altri. Queste contrapposizioni dovevano essere ben presenti in primo luogo agli spettatori, i quali potevano operare un confronto sia con spettacoli non professionistici e dunque recitati soltanto da uomini, sia con modelli diversi di donna. I contrasti vengono indagati attraverso la trattatistica morale del tempo, soffermandosi infine sull’assimilazione fra attrice e prostituta proposta in un corposo trattato del 1646 di G.D. Ottonelli.
    Źródło:
    Italica Wratislaviensia; 2019, 10.2; 85-101
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Caterina Bresciani, l’Ircana famosa
    Caterina Bresciani, "Famous Ircana"
    Autorzy:
    Dygul, Jolanta
    Powiązania:
    https://bibliotekanauki.pl/articles/446339.pdf
    Data publikacji:
    2019-11-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    commedia dell’arte
    Venetian theatre
    actress
    role typology
    Persian trilogy
    Commedia dell’Arte
    teatro veneziano
    attrice
    tipologia del ruolo
    trilogia persiana
    Opis:
    While writing for the Venetian stage, Carlo Goldoni adhered to the requirements of the commedia dell’arte theatre, and thanks to his successful cooperation with actors, he gradually introduced changes to the ossified convention. The comedian-playwright wrote many of his texts for particular performers, using their personal qualities, stage experience, interpersonal relations within the team, and even biographies. Caterina Bresciani is an actress with whom Goldoni worked for as many as 10 theatre seasons, from 1753 to 1762, yet Goldoni does not mention much about her in his memoirs. To her, he owes his greatest stage success in Venice, La sposa persiana (1753), and two subsequent episodes of the story of the wild slave of Ircana. The aim of this article is to analyse the new typology of a female role, created for her first female performer, as well as to examine the performative traces hidden in the texts that will allow us to recreate the Bresciani style of acting.
    Carlo Goldoni si adattò alle esigenze del teatro dell’arte e grazie alla collaborazione con valenti comici, muniti di eccellenti doti interpretative, introdusse dei cambiamenti nella tradizionale convenzione. L’autore scrisse molte commedie per degli attori concreti sfruttando la loro indole, l’esperienza professionale, le relazioni interpersonali all’interno della compagnia e perfino la loro biografia. Caterina Bresciani, attrice fiorentina che per 10 stagioni, dal 1753 al 1762, collaborò con Carlo Goldoni, nelle sue memorie compare poco. A lei l’autore dovette il suo più grande successo scenico, ossia La sposa persiana (1753) e altri due episodi della fortunata storia. L’obiettivo dell’intervento è indagare la nuova tipologia del personaggio – concepito su misura per la Bresciani – presente nella famosa trilogia dell’Ircana (La sposa persiana, Ircana in Julfa, Ircana in Ispaan) e cercare le tracce performative della prima interprete del ruolo sparse nel testo.
    Źródło:
    Italica Wratislaviensia; 2019, 10.2; 135-146
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Il professionismo delle attrici: stato degli studi e nuove domande
    Being a Professional Actress. An Overview of the Existing Body of Research and New Inquires to Be Made
    Autorzy:
    Megale, Teresa
    Powiązania:
    https://bibliotekanauki.pl/articles/446356.pdf
    Data publikacji:
    2019-11-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    female professionalism
    female leaders of theatre companies
    women’s dramaturgy
    commedia dell’arte
    theatre historiography
    professionismo femminile
    capocomicato femminile
    drammaturgia delle donne
    Commedia dell’Arte
    storiografia teatrale
    Opis:
    In the second half of the 16 th century, the arrival of women on the stage caused a revolution, the effects of which extended to the entirety of modern society. A troupe on the move and always at risk, faced with waves of condemnation, the women actors, nomads by trade, were preceded by a diffidence that was both twofold and simultaneous: towards the principal makings of professional work in the theatrical arts and towards the moral qualities of which they had been regarded as the heralds, not individually but as a social group. The process of deconstructing the artistic identity of these pioneering actresses, who tended to be equated with harlots or to their opposites, that is, virgin actresses, was not limited to the first appearance of women on the professional scene, but, rather, it became a long-standing historical category. The article is concerned with removing prior moral judgments that were stratified over the actresses and freeing the historiographic field from preconceived viewpoints; it is concerned with dismantling misogyny and anachronistic sidelong glances. Between masks and prejudices regarding the perturbing aesthetic perception represented by the entrance of women into the world of art, distinguishing that which separates the actress’s profession from sexual adventures, talent from reputation, art from seduction, is essential to provide new historiographic categories and new coordinates to the study of the commedia dell’arte. In this way, other past experiences come to light: the launch towards professionalism, the role of marriage, and the violence that women underwent are a few of the problematic issues to reconsider and overcome based on prior documentary studies.
    Nella seconda metà del Cinquecento, l’arrivo delle donne in scena provocò una rivoluzione i cui effetti si estesero all’intera società moderna. Sommerse da un’ondata di condanna, le attrici, nomadi per mestiere, furono precedute da una doppia e simultanea diffidenza: verso le potenzialità precipue dell’arte teatrale professionistica e verso le qualità morali di cui sono state ritenute portatrici non singolarmente, ma come gruppo sociale. Il processo di decostruzione dell’identità artistica delle attrici pioniere, assimilate alle meretrici o al loro rovescio, ossia all’attrice vergine, non si è limitato al primo apparire del professionismo femminile, bensì è diventato una categoria storica di lunga durata. Si tratta qui di rimuovere i preventivi giudizi moralistici stratificati sulle attrici e sgombrare il campo storiografico da posizioni preconcette, di smantellare misoginia e anacronistici sguardi obliqui. Fra maschere e pregiudizi circa la perturbante percezione estetica rappresentata dall’ingresso in arte della donna, distinguere ciò che separa il mestiere di attrice dalle vicende sessuali, il talento dalla reputazione, l’arte dalla seduzione è essenziale per dare nuove categorie storiografiche e nuove coordinate allo studio della Commedia dell’Arte. Vengono così alla luce altri vissuti e altre esperienze: l’avvio verso la professione, il ruolo del matrimonio, la violenza subita sono alcuni nodi problematici da riconsiderare e vagliare sulla scorta di preventive indagini documentarie.
    Źródło:
    Italica Wratislaviensia; 2019, 10.2; 15-36
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Maska czy gęba? Operetka Witolda Gombrowicza w kontekście komedii dell’arte
    Mask or Mug? Witold Gombrowicz’s Operetka in the Context of Commedia Dell’arte
    Autorzy:
    Bąkowska, Nadzieja
    Powiązania:
    https://bibliotekanauki.pl/articles/1040829.pdf
    Data publikacji:
    2020-10-15
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Gombrowicz
    Operetka
    Polish-Italian relations
    commedia dell’arte
    maska
    gęba
    mug
    comparative studies
    Opis:
    The article is an attempt at placing Operetka (Operetta) in the context of commedia dell’arte by comparing the basic structural and ideological characteristics of Witold Gombrowicz’s drama with the key traits of the commedia dell’arte genre. The author of Ferdydurke, who coined the phrase przyprawiać (komuś) gębę (put the screws to someone’s mug), brings to the grotesque distortion any manifestations of form domination both in life and in art. Ironically, it is the elements of Operetka, related to commedia dell’arte – a thoroughly conventionalised and schematised genre, that become the tool for a sort of removal of mask or mug. Given the mask, protagonists are given “a mug”, and cannot be themselves, they can only be what is allowed by the mask they were given and so they become its prisoner, in a way. The only antidote to “the mug” is nudity that frees one from any mask that forces them to play the designated roles. The article aims to present the relationship between Operetka and the commedia dell’arte genre, with particular emphasis on analysing the Gombrowicz’s concept of form against the convention of mask and costume in the commedia dell’arte, and on the “nudity” vs. “mask” opposition that focuses the drama’s main artistic and existential issues, while it is also precisely the point where the relationship between Gombrowicz’s work and Italian commedia dell’arte is seen most clearly.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2020, 38; 103-123
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kyōgen, japońska komedia szalonych słów i komedia dell’arte
    Kyōgen, the Japanese Comedy of Crazy Words and Dell’arte Comedy
    Autorzy:
    Zalewska, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/1179179.pdf
    Data publikacji:
    2016-12-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    kyōgen
    Japanese theatre
    comedy
    farce
    commedia dell’arte
    Italian theatre
    teatr japoński
    komedia
    farsa
    teatr włoski
    Opis:
    Japońska farsa kyōgen kształtowała się w ścisłym związku z teatrem nō i początkowo była formą w dużym stopniu improwizowaną; później teksty sztuk zaczęto ustalać i spisywać w ich pełnym brzmieniu. Artykuł przedstawia język sztuk kyōgen, ich stałe elementy, takie jak przedstawienie się na początku, sposoby reagowania na słowa drugiego aktora, i powtarzające się w wielu tekstach stałe zdania lub frazy. Do XIX wieku teatr japoński rozwijał się bez kontaktu z teatrem europejskim, można jednak dostrzec pewne zbieżności pomiędzy farsą kyōgen a włoską commedia dell’arte, dlatego też formy te zostały skonfrontowane i wyliczone zostały podobieństwa i różnice.
    Kyōgen, a form of Japanese comic theater, was created and developed alongside Noh theater and in the beginnings it was mostly improvised on stage. Later, the actors started to write down whole texts of kyōgen pieces. In this article the language of kyōgen drama is discussed, especially some of the frequently used elements, like the phrases used by the main character to introduce himself in the beginning, phrases used as a reaction to the words of other actors or phrases and even full sentences repeatedly used in many dramas in certain situations. Although until the 19TH century Japanese theater was functioning without any contact with European theater, some resemblances can be noticed between kyōgen and Italian commedia dell’arte. These resemblances and differences are also discussed in the article.
    Źródło:
    Porównania; 2016, 18; 219-238
    1733-165X
    Pojawia się w:
    Porównania
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Jolanta Dygul, «Metateatralność w dramaturgii Carla Goldoniego», Wydawnictwo Uniwersytetu Warszawskiego, Warszawa 2012
    A Review of Jolanta Dygul's Book 'Metateatralność w dramaturgii Carla Goldoniego'
    Autorzy:
    Hernik Spalińska, Jagoda
    Powiązania:
    https://bibliotekanauki.pl/articles/29520123.pdf
    Data publikacji:
    2016-09-30
    Wydawca:
    Polska Akademia Nauk. Instytut Sztuki PAN
    Tematy:
    Carlo Goldoni
    teatr włoski 1700-1800
    komedia dell'arte
    metateatr
    Italian theater 1700-1800
    commedia dell’arte
    metatheater
    Opis:
    Metateatralność w dramaturgii Carla Goldoniego Jolanty Dygul to książka o życiu objazdowych zespołów teatralnych we Włoszech (ze szczególnym uwzględnieniem Wenecji) w XVIII wieku i o mechanizmach społecznych związanych z ich funkcjonowaniem. Głównym tematem książki są metateatralne sztuki Goldoniego, których korpus rozwinął się w weneckim okresie jego twórczości. Książka łączy w sobie aspekty metodologiczne i historyczne. Autorka przedstawia propozycję kategoryzacji autoreferencyjnych sztuk włoskich XVII wieku w modelu strukturalnym, zapożyczonym z monografii Georges'a Forestiera, gdzie został on opracowany na potrzeby badań nad dramaturgią francuską tego samego okresu. Dalej autorka przyjmuje za Sławomirem Świontkiem, że istnieją trzy rodzaje sposobów przejawiania się metateatralności w teatrze i odpowiadają one poszczególnym sposobom, w jakie Goldoni wykorzystywał autoreferencyjne formy teatralne, a więc po kolei, Dygul omawia w osobnych rozdziałach "prologi i komplementy" zamówione przez aktorów, "utwory okolicznościowe skomponowane na rozpoczęcie i zakończenie sezonów teatralnych" oraz "komedie, w których uczynił problemy teatru tematem dialogów swoich bohaterów". W swojej książce Dygul przedstawia teatr, który pełnił rolę "celebryty" i dzięki temu mógł poświęcić tak wiele czasu spektaklowi, by zwrócić na siebie uwagę. Walka o widza między konkurującymi ze sobą zespołami - zjawisko, na które autorka kładzie nacisk - musiała być czymś publicznie znanym, szeroko komentowanym i ekscytującym, aby liczne aluzje i niuanse z nią związane były łatwe do zrozumienia i bawiły publiczność. Wpływ aktorów na twórczość Goldoniego stanowi podstawę zarówno strategii badanej przez Dygul, jak i jej własnej linii dyskursu. Wiele uwagi poświęcono również badaniu relacji autor-aktor i autor-widz, a także okolicznościom, w których wyłonił się zawód dramatopisarza.
    Metateatralność w dramaturgii Carla Goldoniego (Metatheatricality in Carlo Goldoni's Plays) by Jolanta Dygul is a book about the life of touring theatre companies in Italy (with a special emphasis on Venice) in the 18th century and the social mechanisms connected with how they functioned. The metatheatrical plays by Carlo Goldoni, whose corpus had developed in the Venetian period of his work, make up the book’s major subject matter. The book combines the aspects of methodology and history. The author presents a proposal to categorize self-referential Italian plays of the 17th century in a structural model, borrowed from Georges Forestier’s monograph, where it has been devised for the purposes of studying the French dramaturgy of the same period. Further on, the author assumes, following Sławomir Świontek, that there are three kinds of ways in which metatheatricality manifests itself in theatre, and they correspond with particular ways in which Goldoni utilized self-referential theatrical forms, and thus, in turn, Dygul discusses in separate chapters the “prologues and compliments” commissioned by actors, “occasional pieces composed for the beginnings and ends of theatre seasons,” and the “comedies where he made problems of theatre a subject matter of his characters’ dialogues.” In her book, Dygul presents the theatre that acted as a “celebrity” and could therefore spend so much of the performance time drawing attention to itself. The struggle for the viewer between competing companies—a phenomenon that the author lays a stress on—must have been something publicly known, widely commented upon and exciting for the numerous allusions and nuances of it to be easily comprehended and entertaining for the public. The influence exerted by the actors on Goldoni’s creative work constitutes the grounds for both the strategy studied by Dygul and for her own line of discourse. Much attention is also given to the study of the author-actor and author-spectator relations as well as to the circumstances in which the profession of the playwright emerged.
    Źródło:
    Pamiętnik Teatralny; 2016, 65, 3; 199-208
    0031-0522
    2658-2899
    Pojawia się w:
    Pamiętnik Teatralny
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Gennaro Sacco, słynny Coviello, i jego trzy sztuki
    Gennaro Sacco, the Famous Coviello, and His Three Plays
    Autorzy:
    Dygul, Jolanta
    Powiązania:
    https://bibliotekanauki.pl/articles/29432230.pdf
    Data publikacji:
    2023
    Wydawca:
    Polska Akademia Nauk. Instytut Sztuki PAN
    Tematy:
    Gennaro Sacco
    Coviello
    komedia dell'arte
    typy komiczne
    repertuar
    wariantowość postaci
    dystrybucja ról
    commedia dell’arte
    comic types
    repertoire
    character variation
    role distribution
    Opis:
    Przedmiotem artykułu jest analiza trzech utworów dramatycznych wydanych przez aktora-autora teatru dell’arte, Gennara Sacca, który gościł na dworze polskim w 1699 roku. Sacco zasłynął z roli Coviella. Początkowo grał w Neapolu, potem na północy Półwyspu Apenińskiego i jak wielu włoskich aktorów oferował swój talent różnym władcom europejskim (w Celle, Warszawie, Madrycie). Prawie nic nie wiemy o jego pobycie na warszawskim dworze Augusta II, brakuje źródeł na temat repertuaru oraz składu osobowego zespołu. Zachował się jednak opublikowany w Warszawie tekst dramatyczny Commedia smascherata, ovvero i comici esaminati. Przeprowadzona w artykule analiza tej sztuki na tle dwóch poprzednich wydanych przez aktora ponad dziesięć lat wcześniej we Włoszech poszerza wiedzę o strukturze, dystrybucji i wariantowości ról w teatrze dell’arte. Przyczynia się także do określenia wpływu lokalnych warunków na sztukę włoskich artystów dell’arte przemieszczających się między ośrodkami.
    This article analyzes three plays published by Gennaro Sacco, a dell’arte actor-playwright who visited the Polish royal court in 1699. Sacco became famous for his role as Coviello. He initially performed in Naples, then in the northern part of the Apennine Peninsula, and, like many Italian actors, he offered his talent to various European rulers (in Celle, Warsaw, Madrid). We hardly know anything about his stay at the Warsaw court of king Augustus II; there are no sources that would reveal the repertoire or the names of troupe members. What is extant, however, is the dramatic text of Commedia smascherata, ovvero i comici esaminati, published in Warsaw. The analysis of this play against the background of its two predecessors, published by Sacco in Italy more than a decade earlier, contributes to our knowledge of role structure, distribution, and variation in dell’arte theater. It also helps identify the impact of local conditions on the work of travelling Italian dell’arte artists.
    Źródło:
    Pamiętnik Teatralny; 2023, 72, 1; 141-157
    0031-0522
    2658-2899
    Pojawia się w:
    Pamiętnik Teatralny
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Porcelanowa arlekinada
    A Porcelain Harlequinade
    Autorzy:
    Raszewski, Zbigniew
    Powiązania:
    https://bibliotekanauki.pl/articles/29433182.pdf
    Data publikacji:
    1957
    Wydawca:
    Polska Akademia Nauk. Instytut Sztuki PAN
    Tematy:
    komedia dell’arte
    dokumentacja teatralna
    ikonografia teatralna
    teatr w Polsce w czasach saskich
    commedia dell’arte
    theater documentation
    theater iconography
    theater in Poland 1700-1800
    Opis:
    Artykuł dotyczy rozwoju badań nad obecnością komedii dell’arte w Polsce oraz nad jej wpływem na kształtowanie się polskiego teatru. Autor polemizuje z badaczami polskiego oświecenia i podkreśla, że w rozważaniach na temat początków teatru zawodowego w Polsce za mało miejsca poświęca się tradycjom z czasów saskich, w tym tradycjom komedii dell’arte. Podkreśla, że waga występów mistrzów tego gatunku w Polsce, takich jak Angelo Constantini, czy Cesare D'Arbes, w pierwszej połowie XVIII wieku stanowi ważny wątek historii teatru w Polsce, a także jej związków z historią teatru w Europie. Zwraca uwagę na cenne badania Mieczysława Brahmera, Bohdana Korzeniewskiego i Barbary Król poświęcone tym zagadnieniom. Proponuje również włączenie do tych badań materiału ikonograficznego, zwłaszcza słynnych porcelanowych figurek z miśnieńskiej pracowni Johanna Joachima Kändlera (1706–1775), które przedstawiają włoskich komediantów z XVIII wieku. Autor polemizuje z tezami Sacheverella Sitwella, który twierdzi, że modeli dla tych figur dostarczył drezdeński teatr jarmarczny. Podkreśla, że wartość dokumentalną miśnieńskich należy oceniać bardzo ostrożnie, skoro znacznie wcześniej wykazano, że modelem ich znacznej części były sztychy François Joullaine’a ilustrujące historię teatru włoskiego Luigiego Riccoboniego. Stawia jednak tezę, że niektóre z nich były wzorowane na słynnych kreacjach włoskich mistrzów komedii występujących na dworze saskim w Dreźnie i Warszawie.
    This article discusses the development of research into the presence of commedia dell’arte in Poland and its influence on Polish theater. The author polemically engages with the work of scholars of the Polish Enlightenment. He argues that research on the origins of professional theater in Poland has neglected the traditions of the Saxon period (1697–1763), notably those connected with commedia dell’arte. He emphasizes the importance of performances by masters of this genre, such as Angelo Constantini or Cesare D’Arbes, in the first half of the 18th century, as an important part of the history of theater in Poland and its links with the history of European theater. In this context, he draws attention to the valuable contributions by Mieczysław Brahmer, Bohdan Korzeniewski, and Barbara Król, who researched this topic. He also proposes to include iconographic material as a research source, especially the famous porcelain figurines from the Meissen workshop of Johann Joachim Kändler (1706–1775), which depict 18th-century Italian comedians. The author counters Sacheverell Sitwell’s claim that these figures were modelled on Dresden fair theater actors. He stresses that one ought to be very cautious in ascribing documentary value to the Meissen figures, as they were already proven to have been largely modelled on François Joullaine’s engravings illustrating Luigi Riccoboni’s Histoire du theatre italien. However, he posits that some of them were modelled on the famous roles of Italian comedy masters who performed at the House of Wettin courts in Dresden and Warsaw.
    Źródło:
    Pamiętnik Teatralny; 1957, 6, 1; 121-130
    0031-0522
    2658-2899
    Pojawia się w:
    Pamiętnik Teatralny
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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