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Dipingere sulla scena i «toni dell’anima»

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Dygul J.
Studia Romanica Posnaniensia
|
2018
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vol. 45
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issue 1
127-141
EN
Emotions are expressed not only with words but also with a gesture, body posture, miming or voice modulation. Actor reproduces on stage the external effects of emotions which the audience can read. In the 18th century, theatre and actor became the subject of theoretical reflection comprising two contrasting theories: either living or pretending the feelings of a character played. In Italy, the first theory prevailed, presented by Luigi Riccoboni in his treaties: Dell’arte rappresentativa (1728) and Pensées sur la déclamation (1738). The main objective of this article is to examine how the emotional acting was performed in practice in the 18th century Italian theatre. To this aim, two examples will be closely analysed which are very different in terms of style but not distant in time and what is more, intended for the same Venetian audience. For the purpose of analysis, two monologues were chosen which show an outbreak of anger leading in consequence to a revenge: Mirandolina’s first monologue from Carl Goldoni’s comedy titled La locandiera (1753) and Tartaglia’s first monologue from a scenic fable by Carlo Gozzi titled Il re cervo (1762). The analysis will focus on the power of word expressing emotions and performative traces buried in the text as well as indirect and direct reports of the contemporary audience which will approximately allow to reproduce the style of acting.
2
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Parateksty polskich przekładów z literatury włoskiej w czasach stalinowskich

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Dygul J.
Italica Wratislaviensia
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2010
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issue 1
85-97
EN
The aim of the article is to present the strategy of political manipulation in the paratexts which contain the translations of Italian literature in Poland of Stalinist era. To demonstrate different editorial procedures, the analysis takes into consideration two most significant examples: three editions of the novel by Renata Viganò entitled "Agnese va a morire" (the first two from 1951, the third from 1955) and the publication of a fragment of the novel by Elio Vittorini entitled "Sempione strizza l’occhio al Frejus" in “Przekrój” magazine in 1953. The selection of these examples shows a specific modal frame into which the translations of Italian Literature were forced. Due to that procedure, the Italian novel could be read in connection with other propaganda texts which constitute the intertextual context, determine the interpretation key and intensify the propaganda message.
IT
L’articolo si pone come obiettivo quello di presentare la strategia della manipolazione politica nei paratesti che accompagnano le traduzioni della letteratura italiana nella Polonia stalinista. Per mostrare diversi procedimenti editoriali si analizzano due esempi tra i più significativi: tre edizioni del romanzo "Agnese va a moriredi" Renata Viganò (le prime due del 1951, la terza del 1955) e la pubblicazione di un brano del romanzo "Sempione strizza occhio al Frejusdi" Elio Vittorini sulla rivista „Przekrój” del 1953, che permettono di individuare una specifica cornice modale in cui vengono iscritte le opere italiane, non solo quelle letterarie.
3
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Pietro Chiari – autor prawie zapomniany

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Dygul J.
Italica Wratislaviensia
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2013
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issue 4
165-169
4
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Kłopoty z pamięcią? – o technice „premeditato” w osiemnastowiecznym teatrze włoskim

100%
Dygul J.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
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2013
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issue 008
175-183
IT
L’articolo analizza la diffusione della tecnica del premeditato nel teatro italiano del Settecento. L’esempio dei più grandi drammaturghi italiani, soprattutto del secondo Settecento, come Carlo Goldoni, Pietro Chiari, Antonio Piazza, Carlo Gozzi e Vittorio Alfieri, dimostra un’opposizione da parte degli attori ad accettare la riforma del teatro, che valorizzava il ruolo dell’autore del testo, riducendo la funzione dell’attore al semplice interprete del testo interamente scritto. Il repertorio modificato sconvolge la tradizionale struttura dei ruoli della commedia dell’arte, ma l’organizzazione teatrale non cambia, per questo il teatro italiano rimane a metà strada tra la riforma e il vecchio sistema teatrale.
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