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Journal articles on the topic 'Goldoni'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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1

Cope, Jackson I. "Goldoni's England and England's Goldoni." MLN 110, no. 1 (1995): 101–31. http://dx.doi.org/10.1353/mln.1995.0006.

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2

Montante, Michela, Maria Luisa Spaziani, Maria Luisa Caldognetto, and Jean Portante. "La Vedova Goldoni / La Veuve Goldoni." World Literature Today 72, no. 4 (1998): 812. http://dx.doi.org/10.2307/40154306.

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3

Barni, Roberta. "O Teatro Cômico de Carlo Goldoni ou a “Reforma” de um Iluminista." Revista de Italianística, no. 19-20 (December 30, 2010): 221. http://dx.doi.org/10.11606/issn.2238-8281.v0i19-20p221-235.

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O presente artigo mostra que O teatro cômico, de Carlo Goldoni, é uma peça que deve ser lida em toda sua pluralidade expressiva. A função de “poética em ação” deste texto, apontada pelo próprio autor em suas Memoires é, na verdade, parte de uma estratégia maior de Goldoni, que não deseja se afirmar simplesmente como mais um ”poeta de companhia”, mas como dramaturgo. Para além do conhecido desejo de expurgo dos palcos, numa Veneza cujo viço teatral, à época, não tinha igual em toda Europa, a reforma de Goldoni, que esse texto metateatral expõe em andamento, como um manifesto de estética, foi “culpada” de querer retirar do ator aquela centralidade que as velhas companhias da arte lhe haviam dado, e transferi-la ao autor, para que este pudesse responder aos seus desejos iluministas deatribuir à comédia uma função moral. Assim Goldoni realizou sua reforma aos poucos, com grande senso de realidade. Em jogo paradoxal, no entanto, a velha Improvvisa italiana ficará eternamente conhecida como Commedia dell’Arte justamente graças a Goldoni e a essa peça.
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4

Andreev, Mikhail L. "Tragicomedies of Carlo Goldoni." Studia Litterarum 1, no. 3-4 (2016): 70–81. http://dx.doi.org/10.22455/2500-4247-2016-1-3-4-70-81.

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5

Hiller, Jonathan R. "Carlo Goldoni, Five Comedies." Forum Italicum: A Journal of Italian Studies 52, no. 1 (January 23, 2018): 211–12. http://dx.doi.org/10.1177/0014585818755682.

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6

Strehler, Giorgio. "Goldoni ed il Teatro." Quaderns d’Italià 2 (November 2, 1997): 39. http://dx.doi.org/10.5565/rev/qdi.450.

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7

Strehler, Giorgio. "Goldoni e il teatro." Estudos Italianos em Portugal, no. 2 (2007): 9–21. http://dx.doi.org/10.14195/0870-8584_2_1.

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8

Strehler, Giorgio. "Goldoni e o teatro." Estudos Italianos em Portugal, no. 2 (2007): 23–37. http://dx.doi.org/10.14195/0870-8584_2_2.

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9

Buccini, Stefania, and Franco Fido. "Le inquietitudini di Goldoni." Italica 74, no. 3 (1997): 425. http://dx.doi.org/10.2307/479951.

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10

Cicali, Gianni. "Destouches e Goldoni tra nobildonne, arcadi e liberi muratori. Percorsi della riforma del teatro comico italiano del Settecento." Quaderni d'italianistica 40, no. 2 (October 4, 2020): 49–81. http://dx.doi.org/10.33137/q.i..v40i2.34878.

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La riforma del teatro italiano promossa da Carlo Goldoni a metà del Settecento ha avuto dei momenti preparatori. Tra le fasi importanti di questa preparazione si devono includere le traduzioni di testi teatrali francesi di Destouches, drammaturgo aristocratico e accademico di Francia. Inoltre, questi segnali di una pre-riforma si notano particolarmente in ambienti legati all’illuminismo, all’aristocrazia e alla Massoneria in Toscana, regione in cui il giovane avvocato Goldoni soggiornò per alcuni anni. Un altro elemento sono le donne della nobiltà italiana che in alcuni casi non solo recitano da dilettanti i testi del francese durante eleganti villeggiature ma a volte li traducono o li fanno circolare tra compagnie significative di attori e attrici. In questo saggio vedremo questi antecedenti formativi della riforma di Goldoni e in particolare una traduzione di un testo di Destouches che si rivela importante per le persone coinvolte e che era sfuggita agli studi sui rapporti tra Goldoni e Destouches e la riforma del teatro italiano del Settecento.
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11

Stewart (book author), Pamela D., and Antonio Franceschetti (review author). "Goldoni fra letteratura e teatro." Quaderni d'italianistica 12, no. 1 (April 1, 1991): 151–52. http://dx.doi.org/10.33137/q.i..v12i1.10520.

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12

Pietropaolo (book editor), Domenico, and Antonio Franceschetti (review author). "Goldoni and the Musical Theatre." Quaderni d'italianistica 17, no. 1 (April 1, 1996): 162–63. http://dx.doi.org/10.33137/q.i..v17i1.10337.

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13

Tramuta, Marie-José. "Goldoni et les sirènes enchanteresses." Double jeu, no. 4 (September 1, 2007): 41–48. http://dx.doi.org/10.4000/doublejeu.1654.

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14

Boudart, Laurence. "Goldoni traducteur de lui-même." Çédille 4 (April 1, 2008): 45. http://dx.doi.org/10.21071/ced.v4i.5379.

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En el presente artículo, la autora analiza la traducción en lengua italiana llevada a cabo por Carlo Goldoni en 1789 de su propia obra Le Bourru bienfaisant, escrita y representada en francés a partir de 1771. Se procura demostrar que, si la calidad de dicha traducción deja algo que desear, las causas de sus flaquezas quizás no estén en buscar únicamente en el supuesto conflicto lingüístico que pudiera padecer el autor trilingüe, convertido por un tiempo en traductor de sí mismo.
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15

Lipton, Kay, and Domenico Pietropaolo. "Goldoni and the Musical Theatre." Notes 55, no. 1 (September 1998): 101. http://dx.doi.org/10.2307/900362.

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16

Jansen, Steen. "Avec Goldoni à travers l’Europe." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 49, no. 1 (May 27, 2014): 88–119. http://dx.doi.org/10.1075/rro.49.1.05jan.

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This paper looks at how a given text, Carlo Goldoni’s comedy Un curioso accidente, has been translated, received and used in different adaptations in France, Germany and Denmark. In France and Germany the comedy is met with great interest already in the 18th century, mostly through very different adaptations (in France by François Roger and in Germany by Johann Christian Bock) used with considerable success on stage, less for the actual translations. Later the comedy was forgotten in those two countries. In the rest of Europe, the comedy is not translated till the 19th century ; in Denmark it is discovered about 1850, not least because Johanne Louise Heiberg, leading actress at the Royal Theatre, is enchanted by the female lead character Giannina. At the end of the century the play is restaged, but now — in agreement with the general spirit of the time — in much more realistic productions by William Bloch.
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17

Manai, Franco, and Pamela D. Stewart. "Goldoni fra letteratura e teatro." Italica 69, no. 1 (1992): 102. http://dx.doi.org/10.2307/479472.

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18

Andreev, Mikhail L. "Carlo Goldoni. “The True Friend”." Literary Fact, no. 4 (26) (2022): 8–74. http://dx.doi.org/10.22455/2541-8297-2022-26-8-74.

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“The True Friend” is not the most famous comedy by Carlo Goldoni that are often put on a stage. It has a different importance. It was “The True Friend” from which Denis Diderot borrowed the plot for his play “The Natural Son,” then being accused of plagiarism and beginning to defend himself. This controversy contributed to a more explicit designation of various trends in the dramaturgy of the 18th century. The miser’s monologue in “The True Friend” became a source for the baron’s monologue in Pushkin’s “The Miserly Knight,” and the very figure of the miser in this play by Goldoni gained a prominent place in the literary series formed around this “eternal image” (from Plautus and Molière to Pushkin, Gogol and Balzac). “The True Friend” was previously published in Russian only as a collotype and in free translations.
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19

Kwaśniewska-Urban, Paulina. "Truffaldino - sługa dwóch żołądków." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 40–52. http://dx.doi.org/10.24917/20811853.17.4.

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Truffaldino – servant of two stomachsAbstractThe article treats about the relationship between one of Carlo Goldoni’s first plays – Servantof Two Masters – and the tradition of commedia dell’arte. The key to the search for commonpoints was the character of a servant Truffaldino whose constant hunger links him to hispredecessor zanni. Thanks to a never-before carried-out analysis of Brighella’s zibaldoni andzanni and Goldoni’s comedy in the context of vocabulary, metaphors and lazzi referring tofood and hunger, it can be observed how much the contemporary plays of the Venetian writerare related to the old theatrical tradition.Keywords: Carlo Goldoni, comedy, hunger, commedia dell’arte, settecento
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20

Candiotto, Laura. "Daniele Goldoni, Gratitudine. Voci di Hölderlin." Rivista di estetica, supplemento al n. 58 (May 1, 2015): 201–2. http://dx.doi.org/10.4000/estetica.2302.

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21

Duvillier, Marc. "La surveillance de proximit� chez Goldoni." �tudes th��trales N�36, no. 2 (2006): 70. http://dx.doi.org/10.3917/etth.036.0070.

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22

Gil García, Teresa. "ASÍ SE LLAMAN LAS MUJERES EN EL TEATRO DE GOLDONI." Revista Internacional de Culturas y Literaturas 10, no. 10 (2011): 182–96. http://dx.doi.org/10.12795/ricl.2011.i10.13.

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23

Gil García, Teresa. "ASÍ SE LLAMAN LAS MUJERES EN EL TEATRO DE GOLDONI." Revista Internacional de Culturas y Literaturas 11, no. 11 (2011): 110–24. http://dx.doi.org/10.12795/ricl.2011.i11.08.

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24

Török, Tamara. "L’esilio Volontario di Carlo Goldoni a Parigi." Verbum 10, no. 1 (June 2008): 159–69. http://dx.doi.org/10.1556/verb.10.2008.1.10.

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25

Andreev, Mikhail L. "Goldoni in the Translation of Amfiteatrov’s Family." Studia Litterarum 5, no. 2 (2020): 56–67. http://dx.doi.org/10.22455/2500-4247-2020-5-2-56-67.

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26

Berger, Cécile. "Dictionnaire Goldoni, Lucie Comparini, Andrea Fabiano (dir.)." Transalpina, no. 23 (November 1, 2020): 187–90. http://dx.doi.org/10.4000/transalpina.741.

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27

Fadda, Sebastiana. "Carlo Goldoni mal entendido e mal tratado." Sinais de cena, no. 8 (December 2007): 89–92. http://dx.doi.org/10.51427/cet.sdc.2007.0053.

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28

Romagnoli, Sergio. "L’edizione nazionale delle opere di Carlo Goldoni." Quaderns d’Italià 2 (November 2, 1997): 93. http://dx.doi.org/10.5565/rev/qdi.453.

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29

Tomassini, Stefano. "Carlo Goldoni e la democrazia del volto." Mimesis Journal, no. 1, 2 (December 1, 2012): 18–40. http://dx.doi.org/10.4000/mimesis.225.

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30

Carroll, Linda L., Maggie Günsberg, and Maggie Gunsberg. "Playing with Gender: The Comedies of Goldoni." Modern Language Review 99, no. 1 (January 2004): 216. http://dx.doi.org/10.2307/3738929.

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31

Verba, Cynthia. "What recitatives owe to the airs: a look at the dialogue scene, Act I scene 2 of Rameau's Hippolyte et Aricie – version with airs." Cambridge Opera Journal 11, no. 2 (July 1999): 103–34. http://dx.doi.org/10.1017/s0954586700004973.

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The oft-cited observations of Italian librettist Carlo Goldoni as he described his first visit to the Académie Royale de Musique in 1763 are usually presented with an emphasis on what Goldoni missed. Accustomed as he was to eighteenth-century Italian opera, he could not hear a single aria in the French opera: “I waited for the aria … The dancers appeared: I thought the act was over, not an aria. I spoke of this to my neighbor who scoffed at me and assured me that there had been six arias in the different scenes which I had just heard. How could this be? I am not deaf; the voice was always accompanied by instruments … but I assumed it was all recitative.”
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32

Braida, Lodovica. "Carlo Goldoni and the Construction of Authorship on the Printed Page." Quaerendo 50, no. 3 (August 7, 2020): 241–65. http://dx.doi.org/10.1163/15700690-12341468.

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Abstract The transformation of a play composed for the stage into a text printed to be read is a complex operation often mentioned by the playwrights themselves in the prefaces to the editions of their works. The printed publication could become the ‘place’ for perfecting what was performed on stage but it could also, for some authors, become a ‘place’ in which they defended their authorship through the control of the editions, even going so far, in the case of Carlo Goldoni (Venice 1707-Paris 1793), as to break the rules of the book trade. The author attempts to show how the construction of Goldoni’s authorship can be analyzed on three different levels: the expression of the author’s will; his claim for the right to publish his works himself and finally the representation of the figure of the author with the use of a different portrait for each edition.
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33

Herry, Ginette. "Goldoni et ses acteurs : le cycle de Coraline." Littératures 28, no. 1 (1993): 31–47. http://dx.doi.org/10.3406/litts.1993.1618.

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34

Herry, Ginette. "Traduire une comédie de Goldoni en français aujourd’hui." Équivalences 44, no. 1 (2017): 45–74. http://dx.doi.org/10.3406/equiv.2017.1501.

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35

Minsos, Susan. "Edmonton, The International Fallacy at the House that Shoctor Built." Canadian Theatre Review 42 (March 1985): 17–22. http://dx.doi.org/10.3138/ctr.42.002.

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The Edmonton Citadel Theatre opened its 84/85 winter season with The Country Holiday written by the Italian Carlo Goldoni (1707–1793), in an English version translated by Gordon McDougall and Barry Russell. Although amusing exchanges were scattered throughout, the trilogy stretched far beyond a bearable length. Because stagehands and actors scurried about between scenes frantically flapping material over sofas and adjusting giant blinds, The Country Holiday often grew simply tedious. The cold pseudo-marble sets created a distance between actors and audience, the actors appearing harshly illuminated by a purplish glow as though their homes were lit by fluorescent street lights. In The Edmonton Journal Jamie Portman called the production “flavorless.” The production plodded rather than danced its way through Goldoni’s comedy.
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36

Emery (book author), Ted, and Pamela D. Stewart (review author). "Goldoni as Librettist: Theatrical Reform and the "Drammi Giocosi”." Quaderni d'italianistica 14, no. 1 (April 1, 1993): 172–73. http://dx.doi.org/10.33137/q.i..v14i1.10188.

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37

Cope (book author), Jackson I., and Antonio Franceschetti (review author). "Secret Sharers in Italian Comedy: From Machiavelli to Goldoni." Quaderni d'italianistica 17, no. 1 (April 1, 1996): 146–49. http://dx.doi.org/10.33137/q.i..v17i1.10329.

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38

Guccini, Gerardo. "Goldoni y Alfieri en la escena de sus teatros." Epos : Revista de filología, no. 25 (January 1, 2009): 217. http://dx.doi.org/10.5944/epos.25.2009.10615.

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Las competencias teatrales de Goldoni se modifican debido a su experiencia en el campo operístico; ello le lleva a trasponer escénicamente los diálogos y a crear una nueva modalidad interpretativa para los cómicos. Por su parte, Alfieri, alejándose de las prácticas usuales del teatro trágico, crea sus propios modelos, fruto de un «trabajo compositivo teatral en sí mismo» que separa la función de actor/autor de la de actor/ intérprete y atribuye al espectador un papel determinante.
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39

YÜCESAN, Barış. "CARLO GOLDONI VE LOKANTACI KADIN ADLI YAPITINDA TOPLUMSAL ÖGELER." Trakya Üniversitesi Edebiyat Fakültesi Dergisi 9, no. 18 (July 25, 2019): 177–92. http://dx.doi.org/10.33207/trkede.597921.

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40

Cope, Jackson I. "The Spiral Return: From Stylistics to Theatre in Goldoni." Eighteenth-Century Studies 22, no. 1 (1988): 70. http://dx.doi.org/10.2307/2738754.

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41

Vazzoler, Franco. "Il Goldoni europeo di Franco Fido: una lunga fedeltà." Italian Culture 39, no. 1 (January 2, 2021): 104–10. http://dx.doi.org/10.1080/01614622.2021.1909919.

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42

Almeida, Maria João. "Um actor e o seu autor: Sacchi e Goldoni." Sinais de cena, no. 8 (December 2007): 119–23. http://dx.doi.org/10.51427/cet.sdc.2007.0063.

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43

Sala Di Felice, Elena. "Goldoni e gli attori: una relazione di imprescindibile reciprocità." Quaderns d’Italià 2 (November 2, 1997): 47. http://dx.doi.org/10.5565/rev/qdi.451.

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44

Mattei, Lorenzo. "Carlo Goldoni, Drammi comici per musica IV. 1756-1758." Diciottesimo Secolo 6 (November 9, 2021): 233–34. http://dx.doi.org/10.36253/ds-12556.

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45

Kwaśniewska-Urban, Paulina. "„Nie idzie tylko o poziom przekładu – osobowości nie mniejsza tu przypada rola”. Listowna współpraca Zofii Jachimeckiej z Mieczysławem Brahmerem." Experimental Translation, no. 47 (2024): 66–93. http://dx.doi.org/10.4467/16891864pc.23.016.18847.

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The purpose of this article is to complete the portrait of Zofia Jachimecka, who went down in history as an entertainer in one of the most important salons of Interwar Kraków and a model for the great portraitists, with her professional profile, most often presented either in residual form, or all together omitted from works focusing on the translator. The article presents an analysis of Zofia Jachimecka’s professional correspondence with Professor of Romance Studies Mieczysław Brahmer, who worked closely together from 1950 on the publication of the Polish translation of Goldoni’s comedies in the Ossolineum National Library series (Goldoni 1951, 1951, 1971), and later maintained social and professional contact for many years. The collaboration between the editor of the Goldoni editions and the translator, very well documented in the surviving correspondence (found in the Scientific Library of the PAAS and the PAS in Kraków archives and Jagiellonian Library manuscript collection), goes beyond the project and develops into a long-standing exchange of reading experiences, workshop and repertoire choices, comments on works sent to each other, as well as information on literary and repertoire news, which clearly show that in many fields it was Jachimecka, and not Brahmer, who assumed the role of the expert on Italian and French literature. According to the letters, Brahmer tries to help the translator to, among other things, find a publisher for the Pirandello dramas she translated, while Jachimecka repeatedly suggests Italian readings to the professor, and helps him find his way through the maze of contemporary literature. The article draws attention to the considerable issue of cooperation in resolving financial matters and Brahmer’s intermediation not only in the negotiations of remuneration for the translator for the volumes prepared jointly, but also when the professor was not directly involved in the project. The article is supplemented by an appendix presenting a compilation of Jachimecka’s theatrical translations.
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46

Duarte, André Luis Bertelli. "Ruggero Jacobbi, intérprete de Carlo Goldoni: a comedia italiana e o teatro brasileiro moderno." Aletria: Revista de Estudos de Literatura 29, no. 1 (March 29, 2019): 141–64. http://dx.doi.org/10.17851/2317-2096.29.1.141-164.

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O artigo investiga a encenação e recepção crítica de três comédias de Carlo Goldoni, realizadas por Ruggero Jacobbi no Brasil, entre 1949 e 1955. O objetivo é evidenciar como a leitura de textos da comédia italiana subsidiou experimentações estéticas e debates sobre o teatro e a sociedade brasileira no período.
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47

García Aguilar, Mónica. "VIRTUD FEMENINA E ILUSTRACIÓN. EL CASO DE LA BELLA SELVAGGIA DE CARLO GOLDONI." Revista Internacional de Culturas y Literaturas 10, no. 10 (2011): 66–76. http://dx.doi.org/10.12795/ricl.2011.i10.04.

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48

Dimitri Tsolkas, Ioannis. "IL MESSAGGIO “FEMMINISTA” DI MITIÒ SAKELLARIU." Revista Internacional de Culturas y Literaturas, no. 15 (2014): 303–14. http://dx.doi.org/10.12795/ricl.2014.i15.24.

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Mitiò Sakellariu fu la prima traduttrice greca delle commedie di Goldoni e la prima scrittrice di drammi nella Grecia moderna. Queste opere costituirono una novità assoluta per il pubblico. Mitiò scelse di tradurre La vedova scaltra per il personaggio di Rosaura, una donna umanizzata. La traduttrice voleva così lanciare un messaggio alle donne greche
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49

Decroisette, Françoise. "Andrea Fabiano, La Comédie-Italienne de Paris et Carlo Goldoni." Transalpina, no. 22 (November 1, 2019): 182–85. http://dx.doi.org/10.4000/transalpina.529.

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50

Comparini, Lucie. "Goldoni aujourd’hui en France.Expériences de traduction et d’atelier théâtral universitaire." Cahiers d’études italiennes, no. 17 (November 1, 2013): 167–88. http://dx.doi.org/10.4000/cei.1420.

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